UC-NRLF 


B    3   ^52    im 


BOOK  BINDFNG 


S.J.  VAUaHN!'?P 


LIBRARY 
tCHOOt 


r 


Printing  and  Bookbinding 
for  Schools 


By 

S.  J.  VAUGHN 

Head  Department  of  Manual  Arts,  State  Normal  School, 
DeKalb,  Illinois 


J 


1919 

Public  School  Publishing  Co., 

Bloomington   Illinois 


Copyright  IQI2 

te  Public  School  Publishing  Cc. 


n 


^ 


THE  ART  of  PRINTING 


4375T8 


Printing  is  distinctly  a  social  art.  Setting  type  and 
striking  ofF  a  number  of  impressions  presuppose,  in 
the  first  place,  a  community  to  read  what  is  printed; 
and  in  the  second  place,  that  the  information  printed 
is  of  value  to  this  community. 

—  L.  W.  Wahlstrom, 

In  the  Fraticis  IV,  Parker  School  Tear  Book. 


Table  of  Contents: 


PAGE 

Introduction •  .      1 

The  Art  of  Printing —  Methods  and  Tools  of  Composition.  .  .      5 

Type  Setting 14 

Rules  of  Composition 25 

Proof  Marks 27 

Imposition 28 

Presswork 38 

Cleaning  and   Distributing 42 

What  to  Print  and  How  to  Proceed 45 

Wood  Cuts  and  Metal  Plates 50 

The  Equipment  —  Its  Selection  and  Cost 54 

Arrangement  and  Disposition  of  Equipment 63 


INTRODUCTION 

Printing  as  a  Manual  Art  in  Schools. 

Woodwork  has  been  quite  generally  introduced  into  the 
high  school  and  grammar  school.     With  all  the  defects  of 
the  earlier  presentation  of  the  subject,  not  to  speak  of  those 
in  later  efforts,  it  has  made  a  surprisingly  general  appeal, 
and  has  met  with  unusual  and  deserved  success.     Some  of 
the  methods  employed,  tending  to  place  a  ban  on  originality 
and  thought,  have  brought  it  far  short  of  its  possibilities 
in  the  aid  of  intellectual  development.     To  a  considerable 
extent  the  woodwork  has  not  touched,  as  intimately  as  it 
might,  the  vital  interests  of  the  pupils  and  of  the  homes; 
and,  by  its  own  limitations,  it  has  not  had  an  especially 
strong' social  l^earing.     The  need  is  not  less  woodwork  but 
more  original  and  thoughtful  woodwork,  and  also  a  greater 
variety  of  other  constructive  work  which  touches  more  and 
wider' interests  and  which  may  appeal  to  those  not  particu- 
larlv  adapted  to  that  one  line.    In  this  way  it  will  be  possible 
to  strengthen  the  places  where  woodwork  is  weak.     So  far 
experience  with  printing  in  school  indicates  that  it  makes 
quite  as  general  and  permanent  an  appeal  as  woodwork. 

Printing  makes  this  very  strong  appeal  to  the  boys  be- 
cause, in  the  first  place,  the  printshop  comes  as  near  to 
reproducing  a  great  world  industry  in  the  school  as  any 
other  line  of  industrial  work.  Instead  of  doing  simply  the 
"roustabout"  work  of  the  beginning  apprentice  the  boys 
are  put  to  work  with  the  regular  shop  equipment,  and  soon 
are  readv  to  begin  turning  out 'some  printing.  It  is  a  com- 
mon thing  to  hear  a  boy  remark,  "This  is  just  the  way  they 
do  it  down  town."     So  they  look  upon  printing  as  the  work 


2  PRINTING 

of  real  men,  and  feel  that  they  are  actually  taking  part  in 
some  of  the  activities  that  are  potent  in  the  affairs  of  men. 
It's  wonderful,  the  pull  of  this  feeling  of  participation  in 
the  world's  work. 

Besides  this,  there  is  probably  no  other  line  of  Manual 
Arts  work  in  which  pupils,  grade  boys  especially,  get  so 
practical  a  working  knowledge  of  the  actual  shop  work  as 
in  printing.  This  fact  is  often  turned  to  good  advantage 
by  the  boys,  for  there  can  scarcely  be  found  a  commercial 
printshop  anywhere  which  is  not  glad  to  employ  one  or 
two  boys  during  vacation  time,  if  they  know^  a  little  about 
the  work  and  are  interested. 

There  is  the  still  further  fact  that  printing  offers  the 
concrete  embodiment  of  rules  of  punctuation,  capitaliza- 
tion, syllabication,  sentence  structure,  paragraphing,  etc. 
It  is  an  indisputable  fact  that  work  in  the  printshop  influ- 
ences in  a  remarkable  way  the  disposition  to  observe  good 
form  and  to  follow  the  best  usage  in  all  such  matters.  It 
is  a  daily  occurrence  in  the  school  printshop  that  some  boy 
brings  a  text  book  or  newspaper  to  exhibit  what  he  con- 
siders a  glaring  disregard  of  some  of  these  principles  of 
composition. 

Printing  furnishes  a  distinctly  different  type  of  motor 
activity  from  woodwork,  for  it  is  the  arrangement  of  cer- 
tain unyielding  forms  within  limited  space  to  produce  some 
desired  effect. 

In  the  matter  of  social  significance  printing  is  prac- 
tically ideal.  Almost  every  problem  is  a  community  proj- 
ect, that  is,  a  number  of  pupils  combine  their  efforts  to 
produce  it.  Practically  every  task  in  the  printshop  is  un- 
dertaken with  the  consciousness  of  real  service  to  a  great 


INTRODUCTION  *> 

number  of  people  in  the  school  or   in   the   community   at 
large. 

It  is  interesting  to  note  that  among  the  boys  in  school, 
the  genuine  joy  in  the  production  of  printed  matter  does 
not  necessarily  arise  out  of  a  sense  of  the  commercial  value 
of  the  product.  The  class  that  has  printed  and  illustrated 
a  little  pamphlet  of  stories  for  the  second  or  third  grade 
are  proud  and  happy  immeasurably  beyond  the  pride  and 
happiness  that  would  come  from  a  job  of  office  blanks 
worth  so  many  dollars.  In  other  words,  they  are  happy 
to  the  extent  that  the  quality  of  their  work  merits  praise, 
and  that  they  feel  able  to  make  others  happy  by  their 
services. 

The  school  paper  is  an  enterprise  of  very  much  the 
same  nature.  It  is  a  real  influence  and  a  genuine  service 
performed  for  which  they  expect  no  individual  return  ex- 
cept in  the  appreciation  of  those  they  serve,  and  pride  in 
the  excellence  of  their  work  and  the  skill  it  shows.  This 
is  certainly  a  kind  of  training  for  which  there  is  a  distinct 
need  just  now. 

There  is  no  other  one  of  the  Manual  Arts  that  can 
touch  so  intimately  the  varied  classwork,  interests,  and  ac- 
tivities of  school  life  as  does  printing,  especially  when  com- 
bined with  bookbinding. 

It  brings  a  freshness  and  vigor  to  the  elementary  read- 
ing and  language  work;  it  touches  the  athletics  and  social 
activities  through  announcements,  programs,  and  notices  in 
the  school  paper ;  it  becomes  an  important  factor  in  the 
celebration  of  special  days,  and  in  the  preparation  of  ma- 
terial bearing  on  them ;  and  it  bears  an  intimate  and  vital 
relation  to  art. 


4  PRINTING 

Another  interesting  development  is  in  the  relation  of 
printing  to  the  other  lines  of  constructive  work.  It  has 
proved  extremely  valuable  to  have  the  completed  problems 
written  up  in  descriptive  articles  by  the  pupils,  and  to  have 
the  best  of  these  compositions  printed. 


METHODS  and  TOOLS 
0/ COMPOSITION 


XI 


THE  ART   OF   PRINTING  O 

THE  ART  OF  PRINTING 
Methods  and  Tools  of  Composition. 

In  printing,  composition  includes  all  the  steps  from 
receiving  the  copy  until  the  type  is  set  up,  proofed,  cor- 
rected, and  made  up  into  page  forms. 

This  discussion  presupposes  a  knowledge  of  spelling, 
syllabication,  punctuation,  paragraphing,  etc.,  all  of  which 
good  composition  really  includes.  Practical  rules  bearing 
on  these  different  phases  may  be  found  in  various  hand- 
books for  the  printer. 

The  first  essential  in  printing  is,  of  course,  a  quantity 
of  type  properly  arranged. 

Type  is  cast  from  a  composition  of  metals — lead,  tin, 
antimony,  and  sometimes  copper.  This  composition  is 
melted  and  poured  into  moulds  the  size  and  shape  of  the 
desired  type. 

Accuracy  in  Ske  of  Type.  Lead  is  used  as  the  chief 
constituent  of  the  composition,  because  it  shrinks  very  little 
in  cooling.  This  makes  greater  accuracy  possible.  Ac- 
curacy is  an  absolute  essential  in  type,  for  thousands  of 
pieces  of  metal  must  be  held  together  in  one  form  by  a 
slight  pressure  at  the  sides  and  ends  of  the  form. 

Lead  alone  is  too  soft  to  wear  well  and  to  retain  the 
shape  of  the  type  under  the  constant  pressure  of  the  print- 
ing press.  Tin  is  added  to  give  hardness,  and  antimony  or 
copper  to  give  toughness  to  the  type  metal. 

Type  Described.  Type  are  small  columns  of  the  metal 
with  a  letter  or  character  in  relief  on  one  end  of  each  col- 
umn, as  at  Fig.  I.  The  surface  of  this  relief  portion  from 
which  the  letter  or  character  is  printed  is  called  the  face. 


6  PRINTING 

The  various  faces  are  distinguished  by  names  appHed 
by  the  foundries,  as  ''Caslon  Old  Style,"  ''Engraver's  Old 
English,"  "Banker's  Script,"  etc. 

The  extreme  length  of  type  from  the  face  to  the  foot 
is  .918  inches,  or  about  eleven-twelfths  of  an  inch. 

The  column  of  metal  on  which 
the  letter  or  character  rests  is  the 
body  or  shank  of  the  type  (a, 
Fig.  i)  and  the  distance  which 
the  body  extends  be3^ond  the  edge 
of  the  letter  or  character  is  the 
shoulder  (b,  Fig.  i). 

On  the  side  of  the  body  next 
^^^'  ^'  the  base  of  the  letter  or  character 

are  one  or  more  nicks  (d.  Fig*,  i).  The  chief  purpose  of 
such  nicks  is  to  indicate  the  base  of  the  letter  or  character, 
and  thus  to  aid  the  compositor  in  keeping  the  type  right 
side  up. without  constantly  referring  to  the  face  of  the  type. 
To  the  manufacturer,  these  nicks  indicate  other  things 
in  addition  to  that  mentioned  above,  but  these  need  not  be 
detailed  here. 

The  size  of  the  type  'has  to  do  with  the  body,  and  sig- 
nifies the  vertical  distance  through  the  body,  or  the  distance 
from  the  nick  side  to  the  opposite  side,  as  from  x  to  x', 
Fig.  I. 

Of  course  it  is  clear  that  among  the  large  amount  of 
type  manufactured,  there  must  be  a  great  number  of  dif- 
ferent faces  on  the  same  size  of  body;  and  that  there  may 
be  two  or  three  sizes  of  the  same  face  on  the  same  size 
of  body. 


THE  ART    OF   PRINTING  « 

In  order  to  indicate  a  specific  type,  it  is  necessary  to 
mention  its  size  and  the  name  by  which  that  particular 
face  is  distinguished;  as,  "lo  point  Author's  Roman  Wide," 
"i8  point  Pabst  Old  Style,"  "6  point  Caslon  Bold  Italic," 
etc. 

TJic  Point  System.  The  type  manufacturers  of  this 
country  have  adopted  a  uniform  scale  of  sizes  known  as 
the  point  system.  In  this  scheme,  the  unit  or  point  is  .0138 
inches,  or  about  one  seventy-second  part  of  an  inch.  The 
size  of  any  type  is  so  many  points  based  upon  this  system. 
Twelve  points  constitute  an  cm  pica  which  is  the  larger 
unit  of  measurement. 

When  the  printer  speaks  of  dimensions,  like  the  length 
and  width  of  a  page,  he  says  it  is  a  certain  number  of  ems 
or  picas  long  and  wide.  An  em  pica  is  one-sixth  of  an 
inch ;  so  a  page  three  inches  by  five  inches  is  eighteen  by 
thirty  ems  pica. 

Until  comparatively  recent  years  there  was  no  definite 
standard  of  type  sizes.  Each  foundry  established  its  own 
standards.  If  a  printer  wished  to  use  type  from  different 
foundries,  it  probably  was  necessary  to  make  some  trouble- 
some adjustments  with  bits  of  paper  or  otherwise  to  get 
them  to  line  properly.     (Specimen  ^^  words  gut  of  ^^^^■) 

There  was  a  sufficient  similarity  in  sizes  of  type  to  jus- 
tify the  use  of  names  to  indicate  certain  sizes.  The  names 
used  to  designate  the  common  sizes  from  4.V2  to  12  point 
type  according  to  the  point  system,  are  as  follows : 

4/^   points — Diamond 
5       points — Pearl 
5^  points — Agate 


8  PRINTING 

6  points — Nonpareil 

7  points — Minion 

8  points — Brevier 

9  points — Bourgeois 

10  points — Long  Primer 

1 1  points — Small  pica 

12  points — Pica 

1.  This  line  is  set  in  6  point  Caslon  Bold. 

2.  TKis  line  is  set  in  8  point  Post. 

3.  This  line  is  set  in  10  point  Authors  Roman  Italic 

4.  This  line  is  set  in  12  point  Strathmore  Old 

Style. 

Some  of  these  names,  such  as  Nonpareil,  Brevier,  Long 
Primer,  and  Pica,  are  still  in  quite  general  use. 

Not  only  is  the  height  or  depth  of  the  body  determined 
by  the  point  system,  but  the  width  or  set  of  the  body 
(cc'  Fig.  i)  is  also  cast  on  the  point  basis.  There  are  no 
fractional  points  in  the  width  of  type  made  on  the  point 
set  basis.  Any  number  of  letters  or  characters  placed  side 
by  side  make  an  integral  number  of  points.  This  is  called 
point  set. 

Also,  in  case  a  number  of  differently  faced  type  \\\\h 
the  same  body  are  used  in  the  same  line,  they  are  so  cast 
that  the  different  faces  line  with  each  other  as  well  as  if 
they  were  all  of  the  same  face. 

The  system  goes  still  further  and  makes  it  possible  to 
use  different  sizes  of  type  in  the  same  line  without  difficulty 
in  alignment.  This  is  done  by  making  the  lining  of  the 
different  sizes  vary  by  points,  so  that  the  difference  can 


THE  ART   OF   PRINTING 


9 


easily  be  built  in  with  leads  and  slugs,  see  page  14.     This 
line  has  three  different  faces  and  two  sizes  of  type. 

SpaeUig  of  ]]\)rds  and  Letters.  Quads  and  spaces  are 
pieces  of  metal  shorter  than  the  type,  and  are  used  to  make 
blank  spaces  between  words  and  at  the  ends  of  lines  shorter 
than  the  measure. 

In  any  size  of  type  there  are 
four  kinds  of  quads.  Fig  2  shows 
the  ends  of  the  8  and  12  point 
quads  and  spaces.  An  em  quad 
is  the  square  of  the  type  body. 
The  10  point  em  quad  is  a  square 
quad  whose  sides  are  10  points 
wide.  An  eight  point  em  cjuad  is 
8  points  or  one-ninth  of  an  inch 
square. 

An  en  quad  of  any  size  type 
is  one-half  the  em  quad  of  that 
size  of  type.  A  two  em  quad  of 
any  size  type  is  equal  to  two  of 
the  square  or  em  quads,  and  a  three  em  quad  is  equal  to 
three  of  the  square  or  em  quads  laid  side  by  side. 

There  are  four  of  the  thinner  blanks  in  any  size  of  type, 
known  as  spaces.  The  3-em  space  is  one-third  of  the  em 
cjuad;  the  4-em  space  one-fourth  of  the  em  quad;  and  the 
5-em  space  is  one-fifth  of  the  em  quad.  The  hair  spaces  are 
very  thin  spaces  of  copper  and  brass.  These  are  very  sel- 
domly  needed  in  general  work. 

The  em  quad  must  be  clearly  distinguished  from  the 
em  pica.     Every  size  of  type  has  its  em  quad;  but  the  em 


10  PRINTING 

pica  is  simply  the  12  point  standard  unit  of  measurement. 

Type  Font.  A  quantity  of  the  same  size  and  face  of 
type  with  an  assortment  of  the  various  letters  and  charac- 
ters which  are  used  together  is  called  a  font.  Sometimes, 
fonts  are  designated  by  the  number  of  certain  letters  they 
contain.  A  font  may  be  mentioned  as  having  so  many 
capital  A's  and  so  many  small  a's. 

Type  may  be  bought  in  weight  or  job  fonts.  If  bought 
by  weight,  it  contains  capitals,  small  capitals,  small  or  lower 
case  letters,  including  ligatures  (ff,  fi,  etc.),  figures,  marks 
of  punctuation,  spaces  and  quads.  Twenty  per  cent  of  a 
weight  font  is  made  up  of  spaces  and  quads  unless  other- 
wise specified.  Job  fonts  are  small  assortments  of  type,, 
where  only  small  quantities  or  unusual  faces  are  needed. 
Such  fonts  do  not  include  small  capitals,  spaces  or  quads. 

Fonts  or  parts  of  fonts  come  from  the  foundry  wrapped 
in  small  packages.  The  capitals,  the  small  letters,  and  the 
quads  and  spaces  come,  of  course,  in  separate  packages. 
The  letters  are  arranged  for  the  most  part  in  alphabetical 
order;  but  there  is  an  occasional  insertion  of  a  mark  of 
punctuation  or  a  thin  bodied  letter  out  of  regular  order  to 
fill  out  a  line. 

In  taking  the  type  from  these  packages,  the  entire  face 
side  of  the  mass  o"f  type  is  wet  with  soapy  water.  Then, 
beginning  with  the  first  of  the  alphabet,  a  few  letters  are 
taken  at  a  time  and  put  into  the  proper  boxes  of  the  case. 
This  is  called  laying  the  case. 

Type  Cases.  Type  cases.  Figs.  3  and  4,  in  which  type  is 
kept  are  of  two  general  kinds,  news  and  job.  News  cases 
are  in  pairs,  the  upper  and  the  lower  case,  arranged  to  oc- 
cupy a  position  one  above  the  other  on  top  of  the  stand 


THE  ART   or   PRINTING 


11 


FIG.  3.     NEWS  CASES. 


FIG.  4.    JOB  CASE. 


12 


PRINTING 


or  cabinet,  Fig.  5.  The  upper  case  contains  the  capitals, 
small  capitals,  and  an  assortment  of  signs  and  symbols.  The 
lower  case  contains  the  small  letters,  numerals,  marks  of 
punctuation,  quads  and  spaces.  The  California  job  case 
is  about  the  size  of  the  lower  news  case  and  fits  like  a 
drawer  into  a  stand  or  cabinet.  It  is  arranged  to  contain 
both  the  capitals  and  lower  case  t3^pe,  but  is  without  boxes 
for  the  small  capitals.  By  reference  to  Fig.  4,  it  will  be 
seen  that  the  left  side  of  the  job  case  is  exactly  the  same  as 
the  entire  lower  news  case,  except  tliat  the  compartments 
are  smaller.    < 


FIG.  5. 


The  right  side  of  the  job  case  contains  only  thirty-five 
boxes  for  capitals  instead  of  forty-nine,  as  in  the  capital 
side  of  the  upper  news  case. 

It  will  be  observed  that  the  capital  letters  are  in  regular 


THE  ART  OF   PRINTING 

order  in  the  case  with  the  exception  of  J  and  U.  It  is 
interesting  to  note  that  these  two  letters  were  tlie  last  to  be 
added  to  the  alphabet,  and  lience  were  simply  placed  at  the 
last  of  the  alphabet  in  the  case.  ^ 

In  the  lower  case  there  is  bnt  little  regularity  of  ar- 
rangement, except  that  the  most  commonly  used  letters  oc- 
cupy the  most  convenient  and  conspicuous  places.  The 
printer  knows  the  locations  of  the  various  boxes,  so  that 
the  picking  out  of  a  certain  letter  becomes  almost  purely 
automatic. 


14 


PRINTING 


TYPE  SETTING 

In  beginning  to  set  type,  the  first  tool  the  printer  needs 
is  the  job  stick,  P'ig.  6. 


FIG.  6. 

This  is  the  receptacle  into  which  the  compositor  places 
the  type  as  he  sets  up  the  form,  letter  by  letter.  Sticks  are 
made  in  great  variety,  and  almost  any  length  from  six 
inches  up.  There  are  the  simple,  ungraduated  stick,  ad- 
justed by  the  thumb  screw ;  the  marked  and  perforated 
stick  for  nonpareil  adjustment  by  means  of  a  lever,  Fig.  6, 
and  the  non-adjustable  stick  for  news  or  book  composition. 

The  printer  sets  the  stick  the  length  of  the  desired  line. 
This  is  done  b}^  placing  into  it  a  lead  or  slug,  the  desired 
length,  and  moving  the  clamp  up  against  it  tightly  enough 
that  the  type  will  not  easily  fall  forward,  and  yet  loosely 
enough  to  allow  the  lines  to  be  lifted  from  the  stick  with- 
out binding. 

Spacing  of  Lines.  Leads  (Fig.  7)  are  strips  of  metal 
^"  wide,  and  from  one  to  five  points,  inclusive,  in  thick- 
ness.       Strips        six 


FIG.  7. 


points  and  thicker 
are  called  slugs. 
Leads  and  slugs  are 
used  to  space  be- 
tween   the    lines    of 


TYPE   SETTING 


15 


type,      bearing      the 

same  relation  to  the 

lines    as    spaces    and 

quads    bear    to    the 

J&em  e poi/ttSlug  words.    These   strips 

FIG.  7.  are  said  to  be  labor 

saving  when  they  are  cut  ready  for  use  into  definite  lengths 

of  pica  or  nonpareil  variations.     The  standard  lengths  are 

from  4  to  25  ems  pica.     AMien  not  so  cut,  they  are  called 

strip. 

A  lead  or  slug  generally  of  the  thickness  to  give  the  re- 
quired space  between  the  lines,  and  of  the  length  of  a  line, 
is  placed  in  the  stick,  and  the  type  is  set  with  the  top  of  the 
letter  toward  this  lead.  Then  with  the  lead  or  slug  in  the 
stick  and  the  stick  in  the  left  hand,  the  compositor  stands 
upright  at  the  case,  picks  out  the  letters  and  characters  one 
at  a  time,  and  places  them,  nick  out  and  face  up,  into  the 
stick,  beginning  at  the  lower  left  hand  corner.  Fig.  8.  As 
the  type  are  put  into  the  stick,  they  are  held  there  by  the 
thumb  of  the  left  hand.  The  method  of  holding  the  stick 
at  the  proper  angle  to  prevent  the  type  from  falling  out  and 
to  allow  the  thumb  to  do  its  work  properly,  is  quite  an  art 
which  it  takes  time  to  acquire. 

Justifying  lines. — The  line  of  type  reads  from  left  to 
right  the  same  as  printed  matter  but  the  letters  are  inverted. 
It  takes  the  beginner  some  time  to  accustom  himself  to  this 
condition,  but  with  practice,  it  becomes  easy  and  convenient. 
Each  word  except  the  last  in  the  line,  is  followed  by  a 
space,  or  a  quad.  In  ordinary  solid  matter,  that  is  matter 
without  leads  or  slugs  between  the  lines,  the  three-to-em 


16 


PRINTING 


FIG.  8. 


spaces  are  used  between  words.  But  the  line  must  come  out 
evenly  at  the  end  without  leaving  a  space  or  dividing  a 
word  improperly.  This  very  seldom  occurs  in  beginning 
w^ork,  so  the  young  printer  sets  himself  to  the  task  of  jus- 
tifying the  line,  that  is  re-spacing-  it  so  as  to  remove  the 
difficulty.  Approved  methods  of  spacing  and  justification 
may  be  found  in  the  list  of  rules  of  composition  on  page  25. 
Great  care  shoud  be  observed  in  getting  each  line  as  nearly 
perfect  as  possible  before  proceeding  to  the  next,  for  in  this 
way,  mucli  trouble  and  annoyance  in  correcting  proof  are 
avoided. 

When  a  line  has  been  thus  finished  and  a  lead  put  in 
above  to  support  it,  the  compositor  proceeds  with  the  next 


TYPE   SETTING 


17 


line  exactly  as  before.  It  is  wise  for  the  beginner  to  leave 
all  the  work  leaded,  so  as  to  simplify  the  operation  of  re- 
moving the  lines  from  the  stick.  If  it  is  desirable,  the  leads 
or  slugs  may  be  removed  after  the  type  is  emptied  from  the 
stick.  If  the  last  line  of  a  paragraph  is  not  a  complete  line, 
it  is  filled  with  quads  and  spaces,  but  the  spaces  should 
never  be  placed  at  the  end  or  between  the  quads. 


FIG.  9. 


To  Remove  Type:  The  Galley.  When  the  stick  is  full 
or  nearly  so,  the  compositor  lays  it  down  and  to  remove 
the  type  catches  the  first  lead  with  both  thumbs,  and  the 
last  lead  with  the  first  finger  of  each  hand.  Fig.  9.  Then 
he  slightly  raises  the  first  line.  With  the  remaining  free 
fingers  pressing  against  the  ends  of  the  lines  and  pushing 
at  the  same  time  down  against  the  stick,  he  lifts  the  type 


18 


PRINTING 


bodily  and  puts  it  into  the  galley.  The  first  line  should  go 
against  the  closed  end  and  should  read  from  the  lower  side 
of  the  galley  up.  The  closed  end  of  the  galley  should  al- 
ways be  at  the  right  as  the  worker  stands  at  the  case. 

The  galley,  Fig.  lo,  is  a  kind  of  rectangular  brass  tray 
open  at  one  end,  into  which  the  compositor  places  the  lines 
of  type  on  removing  them  from  the  stick.  Galleys  are  of 
various  sizes  for  different  kinds  of  work. 


FIG.  10. 


Lines  and  Borders:  The  brass  rule.  In  case  there  are 
solid  lines  to  be  made  in  the  printed  matter,  as  in  Fig.  ii, 
this  is  done  by  use  of  the  brass  rule 


Second  Annual  Banquet 


of  the 


Kishwaukee  Country  Club 

Colonial  Hotel,  Aug.  5,  1911. 

Ticket $2.00. 


FIG.  11. 


This,  like  leads,  may  be  had  either  in  the  strip  or  in 
labor  saving  lengths ;  but  unlike  leads,  it  is  type  high,  and  is 


TYPE   SETTING 


19 


designed  for  the 
purpose  of  mak- 
ing lines,  bor- 
ders, etc..  Fig. 
12.  It  may  be 
had  in  any 
thickness,  but 
usually,  a  very 
thin  face  like  a 
hair  line  or  one  point,  is  put  on 
a  heavier  body.  In  such  cases 
the  rule  is  beveled  from  one  or 
both  sides  and  is  said  to  be 
side- faced  or  center- faced  (a 
and  b,  Fig.  12).  Labor  saving 
brass  rule  is  made  up  in  weight 
fonts,  and  may  be  had  with  or 
without  mitres  for  the  corners. 
If  a  rule  line  shorter  than' 
the  measure  of  the  type  line  is 
to  be  made,  the  blank  spaces 
at  the  ends  of  the  rule  are  filled 
with  leads,  slugs,  or  quads  of 


FIG.  12. 
the  same  thickness  as  the  body  of  the  rule. 

Rule  for  borders  is  put  around  the  type  form  after  it 
is  finished.  If  the  face  of  the  rule  is  as  thick  as  the  body, 
as  at  c.  Fig.  12,  good  corners  are  made  simply  by  lapping 
one  piece  of  rule  over  the  end  of  the  other  piece  which 
meets  it  at  the  corner. 

If  the  face  is  thinner  than  the  body,  the  rule  in  borders 
or  panels  must  be  side-faced  unless  there  are  mitres.  The 
bevels  of  the  side  pieces  of  rule  are  turned  in  toward  the 
type  and  those  of  the  end  pieces  are  turned  out.     The  end 


20 


PRINTING 


rnle  laps  over  the  ends  of  the  side  rules  at  the  corners,  as 
shown  at  a,  Fig.    12. 

Dotted  or  hyphen  lines  as  seen  in  Fig.  11,  are  made  by 
the  use  of  leaders,  which  closely  resemble  cjuads  in  that  they 
are  of  quad  sizes.  Leaders,  however,  are  type  high,  and 
have  either  the  dot  or  hyphen  face — so  many  dots  or  hy- 
phens to  the  em.  It  is  not  necessary  to  have  a  great  variety 
of  leader  sizes,  since  with  the  point  lining  system,  one  size 
of  leader  can  easily  be  lined  with  another  size  of  type. 

Spacijtg  and  Tying  a  Galley  or  Job  of  Type.  When  the 
compositor  has  finished  setting  the  type  and  placed  it  into 
the  galley,  if  it  is  an  advertisement  or  small  job,  he  pro- 
ceeds to  space  it  out  by  the  use  of  leads  and  slugs  to  the 
required  length.     The  form  is  then  tied  up. 

It  requires  considerable  care  and  skill  to  tie  up  a  mass 
of  type  properly.  The  form  is  in  the  lower  right  hand 
corner  of  the  galley.  The  compositor  takes  a  cotton  string 
and  beginning  at  the  upper  left  hand  corner,  he  starts  to 
wrapping  the  twine  around  the  form  from  left  to  right, 
drawing  it  taut  just  before  turning  a  corner.     When  the 

starting'  point  has  been  reached, 
he  pulls  the  twine  down  across 
the  original  end  thus  binding  it 
firmly  against  the  metal.  After 
wrapping  from  three  to  six  times 
about  the  form,  a  loop  is  left  in 
the  twine,  which  is  forced  by 
means  of  a  composing  rule,  Fig. 
13,  or  a  lead,  down  between  the 
tvpe  and  the  strands.  This  leaves 
a  small  piece  of  the  end  project- 
ing as  a  convenien.ee  in  untying. 
The  next  step  is  to  take  a  proof. 


type:  setting 


21 


FIG.  14. 


The  galley  is  laid  on  the  stone  or  a  table,  or  the  form  may 
])e  slid  from  the  galley  to  the  stone,  Fig.  i8. 

Taking  a  Proof .     When  the  tied  form  has  been  placed 
upon    the  stone  or    proof  press,    it  is  inked  by  rolling    a 

small  rubber  roller  (Fig. 
14)  over  it,  the  roller 
having  been  first  well 
inked  by  rolling  it  over 
an  inked  piece  of  marble, 
slate  or  glass.  Then  the 
type  is  covered  with  a 
moist  paper,  the  sponged 
side  up,  or  a  regular  proof  paper.  If  there  is  no  proof 
press  the  proof  planer,  a  smooth  faced  block  of  hard  wood, 
with  face  covered  with  felt.  Fig.  15,  is  laid  on  the  top  of 
the  paper,  and  tapped  squarely  and  firmly  with  the  mallet. 
If  the  proof  plan- 
er does  not  cover 
the  form,  its  po- 
sition is  changed 
and  the  mallet 
used  again.  The 
impression  left  on 
the  paper  is  the  first  proof.  See  proof  marks,  page  2j.  In 
school,  it  is  wise  to  have  the  pupils  read  their  own  proofs. 
To  correct  a  galley.  Then  with  the  marked  proof  be- 
fore him,  the  compositor  proceeds  to  correct.  If  only 
slight  changes  are  to  be  made,  such  as  turning  an  in- 
verted letter  or  taking  out  a  capital  and  putting  in  a 
lower  case  letter,  such  changes  may  be  made  without  lift- 
ing the  type    into  the  stick.      Often   lines    or  words    are 


FIG.  li 


22 


PRINTING 


transposed,  or  omissions  or  repetitions  are  discovered. 
Such  errors  necessitate  respacing  and  overrunning,  by 
which  is  meant  the  going  over  several  lines  respacing  them 
and  crowding  a  word  out  of  one  line  into  another  in  order 
to  correct  an  error.  In  such  cases,  it  is  well  to  lift  out 
into  the  stick,  the  lines  involved.  In  the  matter  of  taking 
out  a  letter,  it  is  necessary  only  to  press  lightly  at  both 
ends  of  the  line  with  the  thumb  and  finger  of  one  hand, 
raising  the  line  about  half  way  out  of  the  form,  and  with 
the  other  hand  to  remove  the  desired  letter  and  allow  the 


FIG. 16. 

line  to  slide  back  into  its  original  position.  Bodkins  and 
tweezers  are  dangerous  and  useless  instruments  in  most  in- 
stances. After  the  changes  indicated  in  the  first  proof 
have  been  made,  a  second  proof  is  taken  to  make  sure  that 
all  corrections  have  been  made,  and  that    no  new    errors 


TYPE   SETTING 


FIG.  IT. 


24  PRINTING 

have  crept  in.  This  proof  should  be  submitted  to  the  in- 
structor for  approval.  It  may  be  necessary  to  make  a 
number  of  proofs  before  a  perfect  impression  is  gotten.  In 
case  of  a  sufficient  quantity  of  matter  to  necessitate  its  di- 
vision into  pages  or  columns,  the  proof  is  taken  in  the  gal- 
ley without  tying  up,  Fig.  i6.  The  form  is  locked  tightly 
in  the  galley  by  means  of  furniture  and  quoins.  Fig.  i6. 
This  is  somewhat  like  the  lockup  described  on  page  32, 
except  that  furniture  is  placed  only  on  one  side  of  the 
mass  of  type. 

Making  up.  When  the  corrections  are  made,  the  mat- 
ter is  properly  divided,  the  page  numbers  and  headings  are 
placed,  and  the  pages  or  columns  are  tied  up.  This  process 
is  called  making  up.  Fig.  17.  When  the  printer  begins 
to  make  up,  he  has  before  him  a  long  mass  of  type,  as  at 
Fig.  16.  The  length  of  the  page  is  determined.  It  in- 
cludes the  page  number,  the  running  head,  if  there  be  one, 
and  a  nonpareil,  or  six  point,  slug  at  each  end. 

A  page  18  ems  wide  might  properly  be  30  ems  long.  In 
this  case,  the  measure  would  be  31  ems  and  a  31  em  reglet, 
(see  furniture  page  31)  answers  well  for  a  measure,  as  will 
anv  long  piece  of  furniture  on  which  the  desired  length 
may  be  marked.  An  accurate  ruler  may  be  used  to  ad- 
vantage. Tlie  length  of  the  first  page  is  usually  less  than 
the  full  measure  and  is  somewhat  arbitrarily  determined. 
It  is  generally  sunken  about  one- fourth  of  the  page.  After 
this  page  is  tied  up  and  moved  aside,  the  page  number,  the 
running  head  and  the  slug  are  added  to  the  remaining  col- 
umn of  type  and  the  measure  applied  for  the  next  page. 
This  is  repeated  until  the  final  page  is  reached,  which  is 
usually  somewhat  less  than  the  full  measure. 


RULES    OE    COMPOSITION  25 

RULES  OF  COMPOSITIOX 

1.  Spacing  between  words  should  appear  as  nearly  uni- 
form as  possible,  not  only  throughout  the  line  but  through- 
out the  entire  piece  of  work. 

2.  For  solid,  or  unleaded  matter,  the  em  cjuad  is  used 
to  indent  the  paragraph,  and  to  follow  a  period  except  at 
the  end  of  a  line ;  the  3  to  em  space,  between  words  in 
the  absence  of  marks  of  punctuation  other  than  the 
comma;  the  en  cjuad,  after  a  semi-colon  and  also  after  a 
colon  when  followed  by  a  lower  case  letter,  but  when  fol- 
lowed by  a  capital  letter,  the  space  should  be  slightly 
larger,  perhaps  two  3  to  em  spaces. 

3.  The  indentation  and  spaces  between  words  should 
^•ary  according  to  the  spaces  between  the  lines.  In  case  of 
two  point  leaded  matter,  the  en  quad  should  be  used  in- 
stead of  the  3  to  em  space  and  other  spaces  should  be  cor- 
respondingly larger. 

4.  In  justifying  a  line  after  the  spacing  has  been  done 
according  to  the  above  rules,  spaces  may  be  increased  at 
kern  letters,  f,  y,  etc.,  between  long  words,  and  after  semi- 
colons and  colons ;  or  reduced  at  slanting  letters,  at  com- 
mas, and  at  the  sides  of  small  words.  Spaces  should  be 
the  same  on  both  sides  of  very  small  words,  and  there 
should  never  be  a  greater  variation  in  the  spacing  between 
ordinary  words  than  the  difference  between  an  en  cjuad  and 
a  3  to  em  space. 

5.  Type  should  stand  squarely  on  foot. 

6.  Divisions  of  ^^■ords  at  the  ends  of  the  lines  should  be 
avoided  wherever  possible  but  when  divided,  the  proper  di- 
vision of  syllables  should  always  be  made. 


26  PRINTING 

7.  Avoid  dividing  short  words,  or  dividing*  words  by 
cutting  off  short  syllables  at  the  first  or  last. 

8.  Do  not  loosen  the   clamp  of  the   stick   in   order  to 
make  it  possible  to  insert  a  space. 

9.  AMien  in  doubt  about  spelling,  punctuation,  capitali- 
zation, or  syllabication,  consult  authority. 

10.  Save  endless  time  and  trouble  by  producing  a  clean 
proof  the  first  time. 

11.  In  making  up,  it  is  good  form  to  have  the  first  and 
last  lines  of  a  page  full  lines.  So  it  is  best  not  to  have  a 
paragraph  begin  with  the  first  line  or  end  with  the  last  line 
of  a  page. 


RULKS    or    COMPOSITION 

Proof  Marks. 

JiC  Change  to  i«o\vER  case. 
^.a  Change  to  SMALL  CAPITALS. 
CdflM  Change  to  capitals. 
AffTftA   Change  to  ronian. 
JJCa^,   Change  to  italic. 
Jkivd/   Change  to  boldjFace^ 
^  Put  in  hyphen. 
^  Turn  inverted  letter. 

C/»  Take  oute. 

^^JuU/  Leave  or  reinstate  part  oro£,&ed-out> 

M):4.   Wrong  font. 

Q  Indent  line. 

^  Put  spacebetween  words. 

Q[  Start  new  paragraph. 

r**     r  ^ove  to  the  left. 
I   Mo^e  to  the  right. 
R^T^e  up  letters  or  words. 
Bring  letters  d^^  in  line, 
^A    Make  spaces   uniform. 
X    Broken  or  imoerfect  letten 
(2)    Question  for  author. 
C^    Close  up  sp~aee. 

CfUf-CoMl  Part  ofxopy  omitted. 
Q    /^    Period  and  comma. 
^    Apostrophe. 
Jl/1/,   Transpose "oF^etters^words, 


27 


28 


PRINTING 


IMPOSITION 

Imposition    is   the    arranging    of   the  type  masses    in 
-der  on  the  stone,  and  the  fastening  of  them  mto 


proper  or 
the  chase 


FIG.  18.-BACK  VIEW. 


THE  HAMILTON  MFG  CO 


FIG.  18. -FRONT  VIEW, 


IMPOSITION 


29 


The  imposing  stone,  Fig.  i8,  is  a  smooth  marble  slab 
on  which  the  forms  are  placed  for  locking  up  ready  for 
the  press.  The  stone  may  be  laid  upon  a  box,  bench  or 
table,  but  both  stands  and  cabinets  are  made  for  this  pur- 
pose. It  is  properly  bedded  in  its  ''coffin"  by  placing  putty 
along  the  edges  of  the  bed  and  along  any  cross  supports 
which  may  run  under  the  stone.  Then  when  the  stone  is 
placed  into  this  receptacle,  it  remains  solid  and  level  and 
free  from  strain.  It  should  project  a  short  distance  above 
the  frame  of  the  bed  in  order  to  render  easy  the  removal 
of  the  forms  to  and  from  the  galley. 

The  chase.  Fig.  19,  is  a  steel  or  cast-iron  frame,  into 
which  the  forms  are  locked  to  be  put  into  the  press.     The 

size  of  a  press  is 
based  upon  the  in- 
side dimensions  of 
the  chase.  A  10x15 
press  is  one  that  ac- 
commodates a  10x15 
chase.  The  skele- 
ton chase  is  a  steel 
chase  with  a  A'ery 
narrow  frame.  This 
makes  the  inside 
considerably  larger.  A  skeleton  chase  for  a  10x15  press 
is  practically  11x16,  making  a  clear  gain  of  almost  an  inch 
each  way. 

When  the  type  has  been  proofed,  corrected,  made  up, 
and  tied,  the  form  is  slipped  from  the  galley  to  the  stone, 
and  is  then  ready  for  the  lockup,  Fig.  20. 


FIG.  19. 


30 


PRINTING 


FIG.  20. 


IMPOSITION 


31 


A  chase  is  put  upon  the  stone  in  such  a  position  as  to 
form  a  frame  about  the  type,  which  as  a  rule  should  oc- 
cupy the  central  part  of  the  space  enclosed  by  the  frame.  A 
roller  supporter,  a.  Fig.  20,  is  placed  in  each  end  of  the 
chase  and  pieces  of  furniture  are  built  out  solidly  from  the 
type  form  to  one  side  and  one  end  of  the  chase. 

Furniture,  Fig.  21,  and  b,  c,  Fig.  20,  is  the  name  given 
to    pieces  of    wood  and    metal,  which    are  used  to    build 

around  the  forms  in 
the  process  of  locking 
them  into  the  chase. 
Furniture  varies  by 
the  em  in  width  and 
by  5  to  10  ems  in 
length  when  cut  labor 
saving.  Metal  furni- 
ture is  more  modern 
and  makes  possible 
more  accurate  work ; 
but  for  beginners,  it 
has  its  disadvantages. 
The  metal  is  soft  and 
of  considerable  weight, 
making  heavier  forms ; 
and  if  a  piece  is 
dropped  upon  the  stone 
or  even  upon  the  floor,  which  frequently  happens,  it  prob- 
ably has  a  corner  or  an  edge  battered.  In  the  lockup,  oc- 
casionally this  small  defect  may  cause  the  ''pi"  of  the  whole 
form.  Reglets  are  a  kind  of  wood  furniture  similar  in  size 
and  use  to  leads  and  slugs  but  are  largely  used  as  furniture 


FIG.  21. 


32 


PRINTING 


in  locking  up  forms.  In  leaded  forms  which  have  to  be 
kept  for  sometime,  reglets  are  substituted  for  the  leads  and 
slugs.  They  are  very  much  cheaper,  and  they  relieve  the 
necessity  for  large  cjuantities  of  the  more  expensive  leads 
and  slugs.  Wood  furniture,  which  comes  by  the  case  or 
by  number  of  pieces,  is  cheap,  durable,  not  easily  injured, 
and  on  the  whole,  quite  satisfactory  for  school  use.  A 
small  amount  of  metal  furniture,  wdiich  is  sold  by  weight, 
is  desirable  in  every  printshop. 

AMien  the  furniture  has  been  built  in  at  one  side  and 
one  end  of  the  form  as  indicated  above,  cjuoins  are  placed 
at  the  other  side  and  the  other  end  about  midway  between 
the  type  and  the  chase. 

Quoins,  Fig.  22,  are 
devices  for  locking  the 
forms  into  the  chases. 
There  are  two  chief  kinds, 
one  consisting  of  two  sep- 
arate wedge  shaped  pieces 
of  hard  metal  w  i  t  h 
notched  sides,  which  by 
the  use  of  a  key  are  made 
to  slide  in  opposite  direc- 
tions against  each  other. 
The  danger  of  these 
quoins  in  the  hands  of 
schoolboys  is  that,  not 
realizing  how  easily  good  forms  are  held,  they  persist  in 
trying  to  screw  the  cjuoin  to  the  last  notch,  frequently  en- 
dangering the  chase  and  ruining  the  quoins.  The  other 
kind  is  constructed  of  two  pieces  of  metal  joined  by  springs 


FIG.  22. 


IMPOSITION  33 

and  opened  by  the  use  of  a  key  operating  a  nut  which,  af- 
ter a  sHght  expansion  of  the  quoin,  releases  its  hold  and 
allows  the  parts  to  spring  back  together.  This  c|uoin  is 
safe  for  the  form  and  for  the  chase,  and  is  itself  not  bat- 
tered in  the  process  of  locking  up. 

After  the  quoins  have  been  put  into  proper  position, 
pieces  of  furniture  are  fitted  in  on  both  sides  of  the  quoins. 
The  pieces  of  furniture  are  usually  a  little  longer  than 
the  sides  of  the  form  against  which  they  fit.  They  are  al- 
ways placed  around  the  form  in  such  a  way  that  they  can 
not  bind  against  each  other  so  as  to  prevent  the  pressure 
from  striking  the  type  scjuarely,  Fig.  20. 

\Yith.  the  key,  Fig.  22,  the  quoins  are  very  slightly  and 
uniformly  tightened.     Then  the  planer  is  used. 

The  planer.  Fig.  23,  is 
a  smooth  faced  block  of 
hard  wood  similar  to  the 
proof  planer,  but  is  usu- 
allv  smaller  and  not  cov- 
ered with  felt.  This  is 
^^^'  ^^'  laid    on    the    face    of   the 

form  on  the  stone  and  tapped  lightly  with  a  mallet,  in  or- 
der to  make  sure  that  the  faces  of  all  the  type  are  at  the 
same  level — no  letters  projecting  so  as  to  be  broken  or  to 
injure  the  rollers,  or,  at  best,  to  ruin  the  impressions. 

After  this,  the  printer  tightens  the  cjuoins  gradually, 
giving  a  slight  turn  to  each  quoin  in  succession.  There  is 
danger  of  the  beginner's  getting  the  lock-up  too  tight, 
causing  the  form  to  spring  up  from  the  stone  and  the  chase 
to  spring  and  even  to  break.  If  the  composition  is  good 
and  the  furniture  is  properly  placed,  it  does  not  require  a 


34 


PRINTING 


very  tight  lockup  to  hold.  Before  removing  the  chase 
from  the  stone,  the  lockup  should  be  tested  by  raising  one 
side  o£  the  chase  very  slightly  and  tapping  the  furniture 
to  see  if  any  of  the  type  are  loose.  If  the  form  holds,  it 
is  ready  for  the  press. 

Forms  for  Pour  and  More  Pages.  When  there  are  a 
number  of  pages  instead  of  one  to  be  dealt  with,  the  im- 
position is  considerably  more  complicated. 

Any  piece  of  printing  of  four  or  more  pages  has  an 
•outside  and  an  inside  section.  Page  one  and  all  the  pages 
that  are  printed  on  the  same  side  of  the  paper  with  it  con- 
stitute the  outside  section.  Page  two  and  all  the  pages  that 
are  printed  on  the  same  side  with  it  are  the  inside  section. 

A  four-page  printed  sheet  is  called 
a  sheet  folio.  The  best  way  to  han- 
dle such  a  four  page  form  is  by  the 
work-and-turn  method,  provided  the 
press  is  large  enough  to  accommo- 
date the  four  pages  at  one  time.  By 
this  method,  the  pages  are  arranged 
\  as  in  Fig.  24.  Note  that  in  this 
form  as  in  any  other  outside  form, 
page  one  is  at  the  lower  left  hand 
corner  with  the  foot  of  the  page 
FIG.  24.  toward    the    printer.     Margins    are 

determined  by  measuring  from  the  front  of  type  pages  one 
and  two  the  width  of  the  page  plus  twice  the  desired  mar- 
gin to  the  backs  of  pages  three  and  four.  Then  the  length 
of  the  page  plus  twice  the  margin  is  measured  from  the 
foot  of  pages  one  and  four  to  the  head  of  pages  two  and 
three. 


c 

IMPOSITION 


35 


In  this  case,  the  stuck  is  cut  double  the  length  of  the 
finished  job.  \\'hen  it  has  been  printed  on  one  side,  and 
the  ink  has  dried,  it  is  turned  and  gi\en  the  same  impres- 
sion on  the  other  side.  Of  course,  in  printing  this  second 
side,  care  must  be  taken  to  reverse  the  paper  so  that  pages 
two  and  three  back  up  one  and  four  at  one  end,  and  one  and 
four  back  up  two  and  three  at  the  other  end.  When  the 
ink  of  this  impression  is  dry,  the  sheet  is  cut  at  line  XX 
making  two  complete  folios  from  one  sheet. 

With  school  boys  working  on  a  small  press,  the  four 
pages  are  often  handled  in  two  separate  forms  of  two 
pages  each. 


FIG.  25. 


When  so  divided,  each  pair  may  be  imposed  in  exactly 
the  same  order  as  in  the  four  page  form.  In  this  case  the 
paper  is  cut  to  exact  size  and  pages  one  and  four  are  printed 
on  one  side.  Wdien  the  ink  dries,  it  is  run  through  the 
press  again  and  pages  two  and  three  are  printed  on  the 
other  side,  completing  the  work. 


36  PRINTING 

An  eight  page  form,  or  a  sheet  quarto,  for  a  sufficiently 
large  press,  may  be  imposed  after  the  work-and-turn  method 
as  in  the  case  of  the  four  page  form.  The  numbered  rec- 
tangles in  Fig.  25  show  the  arrangement  of  pages  in  the 
work-and-turn  method  of  imposing  an  eight  page  form. 
It  wull  be  observed  that  pages  in  the  outside  section  of  an 
eight  page  form  are  in  the  same  order  as  those  of  a  four 
page  form.  For  a  press  that  can  accommodate  only  four 
pages,  the  inside  and  outside  sections  are  imposed  exactly 
in  the  same  order  as  in  Fig.  25,  but  are  used  as  separate 
forms. 

When  we  undertake  the  imposition  of  an  eight  page 
job,  we  meet  the  problem  of  margin  for  trim,  which  has 
not  been  encountered  in  the  previous  forms.  In  an  eight 
page  piece  of  work,  there  must  be  two  folds  and  since  the 
sheets  are  folded  after  they  are  printed  and  before  they  are 
cut,  it  is  evident  that  some  allowance  must  be  made  for 
trimming  the  fold  at  the  top  of  the  pages.  Since  in  folding, 
the  edges  are  probably  not  even,  it  is  necessary  to  trim 
them  also.  Thus  it  is  clear  that  allowance  must  be  made 
for  trim  around  each  pair  of  leaves.  Fig.  25  represents  a 
half  sheet  of  standard  25x38  paper  laid  on  the  eight  page 
form  imposed  by  the  work-and-turn  method.  The  line  XX 
indicates  vv'here  the  printed  half  sheet  is  cut  before  folding. 
The  dotted  lines  indicate  the  margins  allowed  for  trim  after 
folding.  The  method  of  measuring  for  the  imposition  is 
as  follows :  Suppose  the  type  pages  to  be  four  by  seven 
inches  and  centered  in  the  pages,  and  the  margin,  after 
trim,  to  be  one  inch  all  around  each  page. 

It  is  apparent  then  that  the  backs  of  type  pages  8  and  5 
are  two  inches  from  the  backs  of  pages  i  and  4.     The  lo- 


IMPOSITION  37 

cation  of  pages  7  and  6  is  determined  by  measuring  half 
the  length  of  the  half-sheet,  or  123^  inches  in  this  case, 
from  the  front  edges  of  type  pages  i  and  4.  The  distance 
then  from  8  to  7  and  from  5  to  6  is  2^  inches  or  15  ems 
pica,  making  Yi  inch  for  trim.  One-half  of  19  inches,  or 
the  other  dimension  of  the  half  sheet,  measured  from  the 
foot  of  type  page  i  to  the  head  of  4,  places  the  distance 
of  2^  inches  between  i  and  4.  This  allows  Yi  inch  here 
also  for  trim. 

In  this  work,  some  prefer  simply  to  fold  the  paper  and 
use  it  for  measurement,  but  in  any  case  when  the  margins 
are  determined,  they  are  built  in  with  appropriate  furni- 
ture and  the  form  is  locked  up.  It  is  well  to  remember 
that,  viewed  from  the  foot  of  the  pages  in  a  form,  odd 
numbered  pages  are  always  at  the  left  of  even  numbered 
pages. 

In  most  of  the  work  of  this  character,  the  pages  are  so 
large  that  only  two  may  be  accommodated  by  a  small  press. 
In  this  case,  the  eight  pages  are  imposed  in  pairs  as  follows : 
One  and  eight,  two  and  seven,  three  and  six,  and  four 
and  five.  It  will  be  observed  that  the  sum  of  the  page  num- 
bers of  any  pair  is  always  one  greater  than  the  whole  num- 
ber of  pages. 


38 


PRINTING 


PRESSWORK 

The  first  thing  in  the  matter  of  hancUing  a  press,  Fig. 
26,  is  to  have  a  clear  idea  in  mind  as  to  the  method  of  its 
operation;  the  next  is  to  make  snre  tliat  the  press  is  well 


FIG.  26. 


IMPOSITION  3& 

oiled,  well  cleaned  and  the  bed  and  platen  clean  of  all  grit,, 
paper,  gauge  pins,  cjuadrats,  etc. 

The  throw  off,  a.  Fig.  26,  is  a  lever  Ijy  use  of  which  the 
press  can  be  prevented  from  printing.  This  should  always 
be  in  such  position  as  to  hold  the  platen,  b,  away  from  the 
bed,  c,  until  the  press  is  ready  for  an  impression. 

An  essential  part  of  the  press  which  needs  to  be  men- 
tioned separately  is  the  rollers,  d. 

They  are  a  kind  of  rubbery  composition  moulded  around 
steel  rods  or  cores ;  and  when  placed  on  the  press,  they  dis- 
tribute the  ink  over  the  plate,  e,  and  carry  it  down  upon 
the  type.  Of  course,  they  are  soft  and  pliable  and  need 
proper  attention  to  keep  them  so.  There  are  summer  roll- 
ers and  winter  rollers  and  neither  can  be  used  to  advantage 
out  of  season.  AMnter  rollers  become  too  soft  for  sum- 
mer, while  the  reverse  is  true  of  summer  rollers  used  in 
winter.  Seventy  degrees  is  about  the  right  temperature  to 
insure  the  proper  working  of  rollers.  Wdien  they  become 
permanently  hard  enough  to  retain,  for  a  considerable  time, 
the  type  impressions,  rollers  are  said  to  be  dead.  ]\Iuch  can 
be  told  about  rollers  by  observing  the  color  and  the  shine 
of  the  surface.  A  dead  roller  has  a  dead,  lusterless  sur- 
face. AMien  rollers  are  worn  out,  they  are  simply  sent  to 
the  factory  where  the  old  composition  is  removed  and  new 
composition  molded  upon  the  same  cores.  The  chief  con- 
stituents of  rollers  are  molasses,  glycerine  and  glue. 

Make-ready.  In  preparing  the  make-ready,  a  hard  sur- 
faced piece  of  pressboard  is  placed  on  the  platen.  On  top 
of  this,  should  be  from  three  to  five  pieces  of  book  paper 
for  "packing,"  covered  finally  with  a  "drawsheet"  of  tough 
manila.     Xow  the  press  is  inked  by  putting  upon  the  plate. 


40  PRINTING 

e,  a  small  quantity  of  ink  and  allowing  the  press  to  run 
until  the  rollers  have  thoroughly  distributed  it  over  the 
plate.  Then  the  form  is  put  into  the  press  at  c,  and  care  is 
used  to  see  that  the  grippers,  f,  are  properly  adjusted  so 
that  they  do  not  strike  the  form  and  at  the  same  time,  are 
not  far  enough  out  to  strike  the  roller  supporters.  In  case 
of  interference  of  grippers,  one  or  both  may  be  removed. 
When  everything  is  ready,  an  impression  is  taken  on  the 
draw  sheet  and  is  examined  to  see  if  any  type  are  high,  or 
to  discover  and  correct  any  other  defect.  Then  the  lower 
clamp,  g,  is  loosened  and  while  the  draw  sheet  is  thrown 
back,  an  impression  is  taken  on  the  top  sheet  of  the  pack- 
ing. If  a  portion  of  the  impression  is  indistinct,  a  thin 
piece  of  paper  is  pasted  upon  the  indistinct  parts  to  give 
them  a  slightly  heavier  impression.  This  is  known  as  the 
overlay.  In  patching  up  the  make-ready  in  this  manner,  it 
is  very  important  that  the  overlay  shall  not  reach  beyond 
the  parts  which  need  building  up.  If  an  indistinctness  in 
an  impression  is  due  to  worn  type  or  a  low  cut,  it  may  be 
remedied  by  an  underlay.  This  is  the  pasting  of  bits  of 
paper  or  cardboard  to  the  foot  of  the  type,  or  to  the  back 
of  the  cut.  In  case  a  portion  shows  too  heavy  an  impres- 
sion, that  particular  part  is  cut  out  of  the  top  sheet  of  the 
packing.  Then  the  draw  sheet  is  clamped  down  again  and 
a  device  is  arranged  for  holding  the  stock  for  printing. 


FIG.  27, 


For  locating  the  positions  of  the  gauge  pins.  Fig.  27, 
or  quadrats,  the  stock  is  laid  straight  across  the  impression 


IMPOSITION  ^^ 


allowing  the  ends  to  project  equally  over  the  ends  of  the 
impression,  and  with  a  sharp  pencil,  a  mark  is  made  on  the 
draw  sheet  along  the  left  end  of  the  stock.    Then  the  stock 
is  slipped  down  across  the  impression  in  such  a  way  as  to 
allow  the  edges  of  the  stock  to  project  the  distance  of  the 
desired  margins   above   and  below  the  impression  on  the 
drawsheet.     A  mark  is  then  placed  along  the  lower  edge 
of  the  stock.     The  gauge  pins  or  quads  are  placed  on  these 
two  lines,  two  on  the  horizontal  and  one  on  the  vertical, 
in  such  a  position  as  will  best  hold  the  stock  on  the  platen. 
If  quads  are  used,  they  are  glued  to  the  drawsheet.     It 
usually  takes  several  impressions  on  the  cut  stock  to  get  a 
perfect  adjustment.     In  order  to  prevent  the   stock   from 
being  lifted  from  the  platen  by  the  ink,  a  small  cord  is  tied 
about  the  ends  of  the  grippers  in  such  a  position  as  that  it 
strikes  the  stock  above  the  impression  of  the  type. 

Constant  care  must  be  exercised  to  keep  the  grippers 
from  getting  in  the  way  of  the  roller  supporters  and  caus- 
ing considerable  injury. 

The  pupils  in  school  begin  operating  the  press  very 
slowlv  and  by  foot  power.  The  process  of  feeding  is 
largely  a  matter  of  cuhivating  a  certain  ambidexterity  and 
a  rhythmic  movement  of  the  hands,  the  right  to  place  the 
blank  sheet  upon  the  platen,  and  the  left  to  remove  it  after 
it  is  printed.  Great  care  must  be  taken  to  avoid  soiling  the 
stock  or  smearing  the  ink  on  removing  the  freshly  printed 
sheets.  As  skill  is  acquired,  speed  should  be  increased. 
Finally  the  boys  are  able  safely  to  feed  a  motor  driven 
press.  When  the  matter  is  printed,  it  is  carefully  scattered 
over  the  letter  boards,  table,  or  shelves  to  dry,  and  the 
chase  is  removed  to  the  stone. 


42  PRINTING 


CLEANING  AND  DISTRIBUTING 

After  finishing  the  job  of  printing  proper,  there  are 
still  some  very  important  things  to  do.  The  form  must  be 
cleaned,  the  ink  thoroughly  removed  from  the  press,  and 
the  type  thrown  back  into  the  proper  cases,  or  distributed. 

The  form  is  cleaned  by  going  over  the  type,  first  with 
a  cotton  cloth  moistened  with  benzine,  and  following  with 
a  bristle  brush.  The  press  also  must  be  washed,  that  is  the 
ink  must  be  removed  from  the  plate  and  the  rollers.  With 
cotton  rags  or  waste  moistened  with  benzine,  the  ink  is 
wiped  off  the  plate.  Then  the  rollers  are  run  upon  the  plate, 
and  with  the  cloth  still  further  moistened  with  benzine,  the 
rollers  are  carefully  gone  over  and  all  the  ink  removed.  The 
rollers  are  then  run  down  from  the  plate,  which  is  wiped 
clean  and  dry.  In  case  waste  is  used  in  cleaning  the  roll- 
ers, it  should  be  wrapped  inside  of  a  cloth  to  prevent  threads 
and  lint  from  adhering  to  them.  To  the  inexperienced, 
this  mater  of  cleaning  the  press,  gives  the  impression  of 
a  long,  tedious  and  dirty  task.  It  proves  to  be  quite  an  in- 
teresting demonstration  for  the  instructor  to  wash  the  press 
clean,  and  come  through  the  process  in  three  minutes  with 
hands  scarcely  soiled,  here  grows  up  somewhat  of  a 
rivalry  among  the  groups  or  individuals  to  see  which  can 
wash  the  press  in  the  shortest  time  and  with  the  least  muss. 
In  leaving  the  press,  this  caution  should  always  be  kept  in 
mind ;  never  allow  the  rollers  to  remain  on  the  plate  or  on 
a  form  in  the  press.  Rags  that  have  become  saturated  with 
benzine  and  ink  should  be  burned  or  kept  in  a  closed  can. 

It  is  the  practice  with  a  great  many  good  printers  to 
leave  the  ink  on  the  press  over  night,  after  thoroughly  oil- 


CLEANING   AND   DISTRIBUTING  43 

ing  it  with  ]iil:)ricating  oil.  By  thus  leaving  the  rollers  cov- 
ered with  this  soft,  oily  coat,  the  composition  is  protected 
from  the  drying  and  hardening  effects  of  the  air.  Of 
course  there  are  inks  which  harden  in  spite  of  the  oil,  such 
as  gilts,  bronzes,  bronze  blues,  reds,  etc.  Such  inks  should 
not  be  left  on  the  press  longer  than  necessary. 

The  next  morning,  the  oily  ink  is  easily  removed  with 
a  dry  cloth.  Sometimes,  it  is  well  to  follow  up  with  a  cloth 
slightly  moistened  with  benzine. 

In  case  ink  has  been  permitted  to  harden  on  the  rollers, 
it  may  be  removed  by  taking  the  rollers  from  the  press, 
washing  them  with  moderately  strong  lye,  using  a  printer's 
scrub  brush.  After  the  ink  is  removed,  the  rollers  are 
thoroughly  rinsed  in  water. 

\Mien  type  has  been  allowed  to  remain  without  the  ink 
havinfj  been  cleaned  off,  and  the  ink  has  hardened  and 
cemented  the  type  together,  it  may  be  loosened  and  cleaned 
with  lye.  Make  a  strong  solution  of  lye  and  saturate  the 
mass  of  type  with  it.  Rub  the  lye  in  thoroughly  with  the 
scrub  brush,  leave  the  lye  on  the  type  for  two  hours  and 
then  rinse  in  water.  Keep  repeating  this  process  until  the 
type  is  loosened  and  cleaned. 

When  a  form  has  been  used  and  is  no  longer  needed,  it 
is  called  dead  matter  and  is  ready  for  distribution.  To 
prepare  the  type  for  distribution,  a  sponge  is  saturated  with 
soapy  water  and  the  top  of  the  form  thoroughlv  wet,  so 
that  the  water  makes  its  way  down  into  the  small  crevices 
between  the  type.  If  the  form  is  put  into  a  gallev,  it  is 
placed  in  the  same  position  as  for  tying  up.  Then  the 
printer  takes  upon  a  slug  the  last  two,  three,  or  four  lines 
and  holds  them  in  his  left  hand  as  in  Fig  28,  so  that  the 
lines  occupy  the  same  position  as  when  in  the  stick.     W^ith 


44 


PRINTING 


FIG.  28. 


the  right  hand,  he  picks  up  one  or  more  words  from  the 
right  end  of  the  top  line.  Standing  before  his  case  in  the 
same  position  as  when  setting  type,  he  spells  the  words  bac.: 
into  the  case.  It  is  very  important  that  type  be  properly 
distributed,  that  the  letters,  characters,  and  spaces  be  put 
into  their  proper  boxes.  This  is  interesting  work,  and  be- 
ginners delight  in  it ;  besides,  it  is  a  work  in  which  consid- 
erable skill  can  quite  readily  be  acquired. 

The  proper  time  to  rescue  a  letter  from  the  floor  or 
ivom  a  wrong  box  into  which  it  has  been  dropped,  is  imme- 
diately after  it  has  been  so  misplaced.  Leads,  slugs,  fur- 
niture, and  rule  should  l)e  put  at  once  in  proper  positions 
into  their  respective  places. 


WHAT   TO    PRINT    AND    HOW   TO    PROCEED  45 

WHAT  TO  PRIXT  AXD  HOW  TO  PROCEED 

In  discussing  the  matter  of  the  proper  printing  for  the 
pubhc  schools,  let  us  not  forget  this  general  proposition, 
i.  e.,  that  the  claim  of  printing  to  a  place  as  a  school  art 
must  rest  upon  its  force  as  an  educational  factor  and  not 
upon  the  fact  that,  by  a  species  of  child  labor,  money  may 
be  made  or  saved. 

There  ma}'  be  done  some  work  of  a  commercial  nature, 
of  course,  as  in  any  kind  of  so-called  industrial  work,  and 
thereby  money  be  saved  for  the  institution  or  the  com- 
munity. But  the  fact  that  some  of  the  work  results  in 
financial  gain  or  saving  is  incidental,  although  it  may  help 
to  add  interest  and  reality  to  the  work.  However,  the 
work  of  the  school  print  shop  should  be  largely  such  as, 
in  the  absence  of  the  school  shop,  would  not  be  printed. 

School  printing  may  be  grouped  loosely  into  three 
classes : 

I.  ^Material  whose  content  appeals  to  the  pupils  and 
whose  merit  justifies  permanent  form.  It  is  always  a  happy 
condition  when  the  matter  which  we  ask  the  boys  and  girls 
to  print  appeals  to  them  on  its  own  merit  as  something  that 
deserves  to  be  perpetuated.  The  book  idea  presupposes 
permanency  of  content.  So  the  book,  printed  and  bound 
by  the  pupils  and  containing  their  favorite  selections,  makes 
a  strong  appeal.  Literature  classes  collect  ballads,  lyrics, 
and  other  forms  of  literature  for  such  work.  Books  of 
ballads  suited  to  the  various  grades  mi^-ht  nrofitably  be 
prepared.  The  broadsheet  idea  mav  be  taken  advantage 
of  to  popularize  national  airs,  patriotic  songs,  crisp  max- 
ims, rare  bits  of  humor,  etc. 


46  PRINTING 

2.  Such  tem])orary  material  as  connects  intimately  with 
the  school  work  and  does  a  genuine  service.  An  abund- 
ance of  valuable  material  may  be  found  in  connection  with 
elementary  reading,  nature  study,  geography,  gardening, 
constructive  work,  etc.  Stories  relating  to  these  subjects 
and  written  by  the  children  may  be  printed  and  furnished 
to  the  children  for  reading  matter.  The  development  of 
dramatization  in  the  schools  offers  material  for  the  print- 
shop.  A  story  like  "Treasure  Island"  or  "Kinmont  Willie" 
is  read  by  the  boys  and  girls,  who  set  themselves  to  the 
task  of  putting  it  into  dramatic  form.  Pupils  take  up  the 
work  of  printing  such  a  production  with  the  greatest  of 
interest  whether  it  is  the  work  of  their  own  or  of  another 
class.  The  school  paper  is  a  valuable  thing  from  every 
point  of  view.  Spelling  lists,  binders'  notes  inserted  in  re- 
bound books,  programs  of  school  entertainments,  Xmas 
and  Easter  cards,  etc.,  come  under  this  second  division. 

3.  This  class  includes  such  work  as  would  ordinarily 
be  sent  to  the  commercial  printer.  Letter  heads,  office 
blanks,  report  cards,  business  notices,  official  announce- 
ments, etc.,  come  under  this  head.  Some  of  this  can  be 
handled  to  the  profit  of  both  the  boys  and  the  school  and 
without  injustice  to  the  commercial  printer. 

In  l^eginning  printing  with  a  class,  it  is  believed  to  be 
best  to  take  advantage  of  the  wide-eyed  curiosity  and  in- 
tense interest  of  the  pupils,  simply  to  make  them  familiar 
with  the  locations  of  the  various  parts  of  the  ecjuipment 
and  the  names  of  the  various  tools  of  the  printer.  Just 
the  pointing  out  and  reciting-  of  the  names  of  the  leads, 
slugs,  furniture,  etc.,  are  sufficient  to  hold  the  rapt  atten- 
tion of  the  class. 


WHAT   TO    PRINT   AND    HOW   TO    PROCEED  47 

Durino-  the  early  period  is  a  good  time  for  investigations 
by  the  pupils  as  to  the  origin  and  development  of  printing, 
the  story  of  movable  type,  the  evolution  of  the  press,  the 
relation  of  printing  to  progress,  etc.  This  plan  of  having 
the  pupils  get  as  much  relevant  information  as  possible 
concerning  their  new  activity,  under  the  impulse  of  this 
first  enthusiasm,  proves  to  be  an  effective  method  of  teach- 
ing as  well  as  valuable  and  timely  work  for  the  boys  and 
girls.  The  same  eagerness  to  become  familiar  with  the 
work  makes  the  lay  of  the  cases  an  easy  matter  to  get  be- 
fore the  class.  Almost  without  exception  the  boys  ask  for 
the  privilege  of  making  individual  diagrams  of  the  cases, 
for  pocket  reference.  The  very  irregularity  and  confusion 
of  the  lower  case  somehow  appeal  to  the  boys,  and  they 
take  great  pride  in  mastering  what  seems  at  first  glance 
almost  a  puzzle. 

.  The  explanation  that  j  and  u  were  the  last  letters  added 
to  the  alphabet  and  that  they  occupy  positions  in  the  capital 
case  corresponding  to  the  time  of  their  additions,  makes 
the  lay  of  the  capital  case  easy  to  remember. 

Considerable  time  may  well  be  devoted  to  just  this  kind 
of  work. 

In  familiarizing  themselves  with  the  case,  the  pupils 
may  well  begin  the  use  of  the  job  stick  and  the  practice  of 
properly  holding  it,  by  the  use  of  large  type,  in  setting  up 
their  names  and  such  simple  matter  as  they  care  to  at- 
tempt, putting  the  type  back  again  into  the  proper  boxes. 
When  simple  composition  is  begun,  it  is  thought  best  that 
each  piece  of  work  should  run  through  the  tvpical  processes, 
setting  up  the  type,  emptying  the  stick,  proofing,  correct- 
ing, tying  up,  removing  to  the  stone,  locking  up,  and  print- 


•i8  PRINTING 

ing.  The  presswork  for  these  first  efforts  may  be  done  by 
the  teacher  by  way  of  demonstrations,  so  that  the  pupils 
become  famihar  with  the  methods  of  handhng  a  press. 

The  class  should  be  kept  for  a  considerable  time  on  such 
work  as  labels,  name  cards,  spelling  lists,  etc.,  gradually 
working  into  the  longer  compositions  of  plain,  straight 
matter. 

When  it  comes  to  the  larger  jobs,  one  piece  of  work 
may  be  divided  among  several  pupils  or  even  the  whole 
class. 

Of  course,  in  all  this  work,  there  must  be  constant  ref- 
erence and  attention  to  the  various  rules  of  composition, 
such  as  justification,  spacing,  margins,  etc. 

As  the  class  advances,  it  is  well  to  have  each  boy  do  a 
little  press  work  by  himself.  He  will  prepare  the  make- 
ready,  which  the  instructor  has  previously  demonstrated, 
ink  the  press,  set  the  gauge  pins,  and  run  off  the  job,  under 
the  close  scrutiny  of  the  teacher.  In  handling  jobs  of  two 
or  more  pages,  the  pupils  have  experience  in  proofing,  mak- 
ing up  the  matter  into  page  forms,  and  of  imposing  or 
locking  it  up.  It  is  well  to  have  the  list  of  proof  marks 
conspicuously  on  the  board  and  to  insist  upon  the  pupils' 
use  of  them  in  a  correct  and  intelligent  way. 

At  the  close  of  the  eighth  year  and  in  the  high  school, 
the  handling  of  cuts,  tabular  work,  and  the  more  difiicult 
processes  all  along  the  line  is  expected. 

Not  only  must  the  boys  use  the  cuts  in  printing  but  they 
ought  to  make  the  wood  cuts,  zinc  etchings,  and  copper 
plates  as  frequently  as  possible  from  designs  and  illustra- 
tions prepared  1)y  themselves. 


WHAT   TO   PRINT   AND   HOW   TO   PROCEED  49 

During-  the  work  in  printing,  the  teacher  should  not 
overlook  or  neglect  any  illustrative  material  that  may  be 
available,  and  which  may  be  of  value  in  setting  stand- 
ards, arousing-  ambitions,  and  offering  suggestions  for 
improvement.  Visits  to  commercial  print  shops  are  an 
excellent  thing  from  the  standpoint  of  all  these  consider- 
ations. In  studying  the  arrangements  of  the  parts  of  a 
broken  page,  or  of  an  advertisement,  it  has  proved  in- 
teresting and  profitable  to  cut  out  the  parts  of  the  printed 
matter  collected  for  study,  and  to  reassemble  them  by  past- 
ing them  to  another  page.  The  variety  in  the  matter  of 
margins,  spacing,  and  grouping  that  can  be  had  by  such  a 
treatment,  is  often  really  surprising.  Then  when  there  are 
added  the  possibilities  of  different  sizes  and  kinds  of  type, 
the  colors  of  ink,  and  the  colors  and  textures  of  paper,  the 
effects  that  may  be  produced  are  without  limit. 


50  PRINTING 


METHOD  OF  TEACHING  THE  LOWER  CASE 

Each  boy  has  a  case  before  him.  The  class  is  told  that 
there  are  three  little  groups  of  letters  to  be  learned  first : 
ar,  is,  jk.  These  groups  are  learned  first,  because  they  are 
not  consecutive  and  do  not  readily  fall  into  the  grouping 
which  is  to  follow. 

After  these  first  groups  have  been  fixed  in  the  mind,  it 
is  explained  that  the  left  half  of  the  lower  case  is  made  up, 
for  the  most  part,  of  groups  of  letters  which  are  consecu- 
tive in  the  alphabet.  These  groups  are :  hcde,  luin  (h)  o, 
tuv.  Besides  jk  on  the  left  side  there  is  another  non- 
consecutive  group,  qxz.  These  groups  are  repeatedly 
pointed  out  during  the  explanation.  When  we  come  to  the 
group  Unn  fJi)  o,  we  say  ''Unn  over  h  to  o." 

Beginning  with  a,  the  class  repeats  several  times  these 
groups :  hcde,  linn  (h)  o,  tuv,  qxc.  Then  it  is  pointed  out 
that  there  are  only  two  groups  remaining,  and  that  they 
are  on  the  right-hand  side  of  the  case.  They  are  fg  and 
ypw. 

When  the  boys  have  located  the  groups  a  few  times,  they 
are  tested  on  the  entire  alphabet  in  order.  They  begin,  a, 
hcdc,  fg,  and  then  they  remember  the  ''over  h  to  o"  expres- 
sion, which  locates  li  for  them.  The  next  letters,  i  and  jk, 
are  in  the  first  groups  learned  and  hence  are  easily  recalled. 
Then  follows  the  group  hnno.  If  they  do  not  readilv  lo- 
cate p,  the  group  ypzv  is  repeated  by  the  teacher.  The  letter 
q  is  in  the  corner  group,  qx.z,  r  is  in  the  first  group  learned, 
ar,  and  i"  is  in  the  second  group  learned,  is.  The  next  let- 
ters, tuv,  are  in  a  group  by  themselves,  and  the  remaining 


METHOD    OP   TEACHING   THE    LOWER    CASE  51 

letters  of  the  alphabet,  zv,  x,  y,  z,  are  in  the  two  remaining 
groups,  ypw  and  qxz. 

If  at  any  time,  a  boy  cannot  locate  a  letter,  he  can  be 
immediately  assisted  if  the  teacher  will  simply  repeat  the 
group  in  which  the  letter  is  to  be  found.  For  instance,  if 
he  cannot  iind  x,  the  teacher  should  simply  say  "qxz." 

The  location  of  quads,  spaces,  numerals,  and  "points" 
is  only  a  matter  of  a  short  time,  and  may  be  learned  at  the 
time  the  letter  boxes  are  learned,  but  can  just  as  well  be 
taught  when  an  explanation  of  the  quads  and  spaces  is 
made. 

It  will  be  observed  that  by  this  plan,  instead  of  learning 
the  positions  of  twenty-six  separate  boxes,  the  boys  learn 
the  positions  of  the  following  nine  groups :  ar,  is,  jk,  hccie, 
linn  (hj  0,  till',  qxz,  fg,  ypw,  which  include  the  twenty-six. 


52  PRINTING 

WOOD  CUTS  AND  METAL  PLATES 

The  making  of  wood  cuts  and  metal  plate  etchings  has 
proved  one  of  the  greatest  sources  of  interest  and  educa- 
tional profit  to  the  boys  and  girls.  It  vitalizes  and  lends 
motive  to  design  and  illustration,  it  requires  very  little 
equipment  and  is  a  perfectly  feasible  scheme  even  for  the 
seventh  and  eighth  grades. 

It  is  perhaps  as  well  to  illustrate  the  idea  with  a  con- 
crete problem.  A  book  is  being  made  for  instance,  by  each 
pupil.  He  plans  a  cover  design,  a  bookplate  or  an  illustra- 
tion. After  the  design  or  illustration  is  carefully  worked 
out,  it  is  traced  in  reverse  by  means  of  carbon  paper  upon 
a  piece  of  w^ood,  copper,  or  zinc.  If  it  is  to  be  a  wood  cut, 
the  block  is  squared  up  to  the  proper  thickness,  about  seven- 
eights  of  an  inch.  Birch,  maple,  and  black  walnut  have 
proved  very  satisfactory  for  this  work.  Of  course,  in  com- 
mercial work,  boxwood  is  extensively  used  and  the  design 
cut  on  the  end  grain;  but  it  is  very  satisfactory  and  much 
easier  for  the  school  work,  to  cut  the  figure  on  the  side  of 
a  piece  of  ordinary  board.  WMi  a  small  veining  tool,  such 
as  is  used  in  wood  carving,  the  design  is  outlined,  care  be- 
ing taken  to  leave  the  edges  of  the  parts  to  be  left  in  relief 
sharp  and  distinct.  Then  with  a  small  gouge,  chisel  or 
knife,  the  background  is  cut  away  to  the  depth  of  about 
one-sixteenth  of  an  inch.  No  care  need  be  taken  to  make 
the  background  smooth. 

Of  course,  the  open  grained  woods  do  not  give  a  solid, 
uniform  impression.  This  is  not  at  all  objectionable  as 
one  may  see  by  examining  the  wood  cuts  of  the  old  masters. 
However,  if  a  dense  impression  is  desired,  this  experiment 


WOOD  CUTS   AND   METAL  PLATES  53 

has  been  tried  with  good  results :  After  the  design  is  cut, 
the  face  of  the  block  is  gone  over  with  a  heavy  coat  of  thick 
woodfiller.  \Mien  the  filler  is  dry,  it  is  carefully  scraped 
from  the  face  of  the  design.  By  this  simple  method,  a 
dense,  clear,  and  uniform  impression  is  made  possible. 

If  it  is  to  be  a  metal  plate,  the  pupil  simply  takes  a 
thick,  smooth  piece  of  copper  or  zinc,  traces  the  design, 
and  with  a  water  color  brush,  he  paints  with  asphaltum 
varnish  the  parts  of  the  design  to  be  left  in  relief.  The 
back  of  tlie  metal  plate  is  also  covered  with  a  thin  coat  of 
the  varnish.  Careful  examination  is  made  to  see  whether 
air  bubbles  have  caused  small  holes  in  the  varnish,  or  anv- 
thing  else  has  caused  any  portion  of  the  design  to  be  left 
uncovered.  AMien  dry,  the  acid  bath  is  prepared.  Com- 
mercial nitric  acid  is  the  safest  solution.  It  is  diluted  bv 
adding  about  an  ecjual  volume  of  water  to  it,  making  it 
from  15%  to  20%  strong.  The  diluted  acid  is  poured  into 
a  glass  or  porcelain  tray  and  the  plate  put  into  it.  If  the 
acid  can  be  kept  moving  by  frequently  rocking  the  trav,  the 
etching  will  be  ^•ery  materially  hastened.  It  takes  from 
three  to  five  hours  to  etch  deeply  a  piece  of  copper,  de- 
pending upon  the  strength  and  amount  of  the  solution  and 
the  amount  of  exposed  surface  to  be  eaten  away.  If  large 
surfaces  are  to  be  etched,  quite  a  large  quantity  of  acid  is 
desirable,  or  else  a  changing  or  strengthening  of  the  solu- 
tion during  the  process.  As  soon  as  the  acid  becomes  some- 
what burdened  with  the  metal,  it  ceases  to  act  at  all  freely, 
and  even  begins  to  deposit  a  blue  nitrate  upon  the  metal. 
In  such  a  case,  it  is  best  to  put  the  plate  into  a  fresh  so- 
lution. 

Care  must  be  taken  that  the  acid  is  not  too  strong,  as 
the  heat,  generated  bv  its  rapid  action  softens  the  varnish 


54 


PRINTING 


FIG.  29. 


WOOD   CUTS   AND   METAL   PLATES  55 

and  lets  the  acid  under  to  play  havoc  with  the  design.  Xu- 
nierous  bubbles  and  yellow-green  fumes  indicate  that  the 
acid  should  be  weakened  by  the  addition  of  a  small  quan- 
tity of  water. 

By  observing  the  progress  of  the  etching  occasionally, 
it  can  be  told  when  the  proper  depth  has  been  reached. 
Then  the  plate  is  heated  sufficiently  to  soften  the  varnish, 
soaked  in  kerosene  or  turpentine,  and  rubbed  clean  with  a 
cloth.  Or  the  warm  varnish  can  be  removed  by  simplv 
saturating  the  cloth  with  kerosene,  turpentine,  or  benzine 
and  rubbing  over  it. 

A  block  of  wood  is  then  prepared  for  a  base  so  that 
the  mounted  plate  is  slightly  less  in  thickness  than  the 
height  of  the  type.  Then  with  a  punch  or  a  small  drill, 
holes  are  put  into  the  lower,  or  background,  part  of  the 
metal.  Through  these  holes  the  plate  is  fastened  to  the 
block  by  small  tacks  or  escutcheon  pins,  the  heads  being 
sunken  below  the  surface  of  the  background.  Large  sur- 
faces of  background  should  be  sawed  out  before  the  metal 
is  mounted  upon  the  block.  A\^hen  the  cut  is  used  in  print- 
ing, it  is  brought  up  to  the  proper  height  by  the  underlay- 
ing of  paper  or  cardboard. 

This  work  is  used  extensively  in  connection  with  such 
work  as  cards  and  programs  for  Xmas,  Thanksgiving, 
Easter  and  other  special  occasions.     Fig.  29. 


56  PRINTING 

THE  EQUIPMENT— ITS  SELECTION  AND  COST 

In  planning  an  equipment  for  a  print  shop,  as  for  any 
other  shop,  the  more  specific  the  conditions  and  Hmitations 
under  which  one  is  placed,  the  more  intelligently  one  can 
go  about  the  undertaking.  In  the  first  place,  the  following- 
things  should  be  as  definitely  decided  upon  as  possible : 

1.  The  grade  and  number  of  pupils  who  are  going  to 
handle  the  equipment. 

2.  The  nature  of  the  work  anticipated. 

3.  Amount  of  money  to  be  expended. 

This  is  only  another  way  of  saying  that  a  school  print- 
shop  must  meet  school  conditions.  There  are  a  number  of 
points  in  which  the  school  print  shop  differs  materially 
from  the  commercial  job  shop.  The  number  that  must  be 
kept  at  work  is  an  illustrative  point. 

From  the  standpoint  of  durability  and  of  quality  of  the 
work  to  be  done,  it  is  safer,  of  course,  to  buy  as  large  a 
part  of  the  equipment  as  possible,  new.  In  other  lines  of 
the  Manual  Arts  work,  very  little  disposition  is  shown  to 
buy  second  hand  machinery  and  tools ;  but  there  seems  to 
be  a  decided  tendency  to  look  for  old  equipment  for  the 
printshop.  This,  perhaps,  arises  out  of  the  misapprehen- 
sion that  even  a  very  small  printing  plant  is  very  expen- 
sive. On  the  contrary,  it  will  be  seen  by  reference  to  the 
lists  on  page  58,  that  a  printing  equipment  is  comparatively 
inexpensive.  Unless  one  is  an  expert,  or  is  familiar  with 
the  time  and  kind  of  use  the  goods  have  been  subjected  to, 
it  is  unsafe  to  buy  such  used  goods  as  type,  leads,  slugs, 
rule,  furniture,  and  type  cases,  for  these  may  be  regarded 
as  perishable;  besides,  they  are  comparatively  cheap.      So, 


THE  KQUIPMEXT — ITS  SELECTION   AND  COST  ^( 

from  the  financial  standpoint,  as  well  as  that  of  good  work, 
it  is  unwise  to  buy  such  used  material.  And  when  it  comes 
to  the  larger,  more  expensive  articles,  like  the  press  and 
the  cutter,  it  must  be  considered  that  they  are  probably 
not  soon,  if  ever,  to  be  replaced,  that  imperfections  are 
difficult  to  detect,  and  that  not  a  very  large  reduction,  can 
be  had  on  machines  in  good  repair.  But  if  it  is  a  question 
of  getting  a  start  in  printing  by  the  use  of  old  equipment 
or  doing  without  the  printshop,  by  all  means  let's  have 
the  old  equipment.  There  are  a  good  many  items  that  can 
be  safely  and  cheaply  bought  second  hand.  Among  these 
are  cabinets,  stones  and  frames,  case  stands,  lead  cases,  etc. 

It  is  wise  to  buy  only  such  staple  articles  as  in  a  good 
printer's  judgment  the  conditions  demand.  There  is  some 
temptation  to  buy,  out  of  a  scanty  allowance,  articles  which 
are  not  absolutely  necessary,  or  which  may  easily  be  im- 
provised. It  is  wise  to  buy  the  essentials  and  such  quan- 
tities and  accessories  as  make  what  one  buys  available  to 
its  full  capacity.  To  illustrate,  it  is  not  uncommon  to  find 
quite  a  liberal  quantity  of  type  with  an  insufficient  supply 
of  quads  and  spaces.  This  simply  means  that  the  type  is 
available  for  use  only  to  the  extent  of  the  quad  and  space 
supply.  This  illustration  is  only  typical  of  a  number  that 
might  be  made.  For  school  purpose,  it  is  much  more  satis- 
factory to  have  generous  quantities  of  a  few  sizes  of  type 
of  one  series,  than  to  have  small  quantities  of  several  sizes 
and  series.  If  the  specific  purposes  of  the  shop  are  clearly 
in  mind,  the  selection  of  faces,  quantities,  and  sizes  of  type 
is  greatly  facilitated. 

If  it  is  planned  to  do  very  much  of  the  supplementary 
reading  work  for  the  elementary  grades,  good  quantities  of 


58  PRINTING 

12  point  type  should  be  provided,  including  such  a  special 
supply  of  sorts,  especially  in  capitals,  as  seems  necessary  to 
meet  the  needs.  For  instance,  it  has  been  found  that  in  the 
language  and  reading  work  of  the  lower  grades,  the  per- 
sonal pronouns,  I  and  we,  are  used  with  great  extravagance 
in  beginning  sentences ;  so  the  I  and  \\'  boxes  are  soon 
empty.  In  case  some  prominence  is  to  be  given  to  arith- 
metic work,  then  larger  quantities  of  figures,  fractions,  etc., 
should  be  bouglit  than  come  in  the  regular  fonts.  For  gen- 
eral work,  there  can  be  no  wiser  selection  than  a  large 
quantity  of  lo  point  type.  Of  course,  where  the  allowance 
permits,  it  is  extremely  nice  to  have  small  fonts  of  two  or 
three  different  faces,  which  may  be  used  for  variety,  ini- 
tials, display,  etc. 

It  has  been  found  very  satisfactory  to  have  large  quan- 
tities of  a  few  sizes  of  body  type  as  previously  suggested, 
and  in  addition,  a  few  fonts  of  a  heavier  face,  duplicating 
the  body  type  in  sizes  Ijut  with  some  larger  sizes,  and  also 
a  small  assortment  of  some  nice  simple  text  letters.  In 
selecting  type,  a  wide,  clear,  readable  face  is  desirable,  and 
it  is  best  to  select  those  faces  which  do  not  contain  hair 
lines  or  complications  which  make  it  difficult  to  get  a  dis- 
tinct impression,  and  which  render  the  type  less  durable. 
It  is  rather  unusual  to  see  a  shop  sufficiently  supplied  with 
quads  and  spaces,  and  especially  is  this  so  where  much  of 
the  work  is  widely  spaced  and  where  each  line  is  treated  as 
a  paragra])h,  as  in  elementary  matter. 

In  order  to  provide  for  the  small  font  display  type 
which,  of  course,  comes  in  straight  letter  work,  it  has  been 
found  a  good  i)lan  to  add,  in  addition  to  the  regular  20%, 
5  pounds  each  of  quads  and  spaces  for  each  50  pounds,  and 
2>^  pounds  for  each  25  pounds  of  body  type. 


THE  EQUIPMENT ITS  SELECTION   AND  COST 


59 


Everything  considered,  the  10x15  press  is  preferable 
for  the  school  as  well  as  other  work.  It  accommodates 
large  forms,  which  fact  is  often  urged  against  it;  but  for 
the  smaller  work,  like  the  most  of  the  school  work,  it  is 
practically  as  easily  handled  as  an  8x12.  It  is  consider- 
ably more  expensive  but  it  has  a  much  greater  capacity  for 
work  of  the  more  advanced  kind. 


FIG.  30. 


Of  course,  cabinets  are  preferable  to  open  case  stands. 
They  are  compact,  free  from  dust  and  dirt,  and  of  good 
appearance.  However,  they  are  more  expensive  than  stands, 
if  the  matter  must  be  determined  by  the  question  of  cost. 
If  one  goes  to  the  expense  of  getting  a  cutter,  Fig.  30,  it 
is  the  part  of  good  judgment  to  get  one  that  will  be  of  the 

5 


greatest  service. 


So  it  is  advisable  to  get  a  2 :;  or  26  inch 


60  PRINTING 

cutter.  The  difference  in  cost  above  that  of  a  twenty-two 
inch  is  overbalanced  by  the  economy  and  convenience  in 
cutting  large  stock.  In  case  a  large  cutter  cannot  be  bought, 
small  table  cutters,  which  give  good  service,  may  be  had  at 
various  low  prices.  The  stone  mentioned  in  the  $800  list 
on  this  page  is  practically  ideal  for  the  small  printshop.  It 
is  a  26x44  marble,  mounted  upon  a  cabinet  which  contains 
a  large  quantity  of  wood  furniture,  and  a  number  of  draw- 
ers and  letter  boards.  This  stone  is  not  so  much  more  ex- 
pensive after  all,  if  one  considers  the  cost  of  the  furniture 
and  case  and  the  other  conveniences. 

Probably  the  general  method  of  selecting  equipment  for 
any  line  of  work  is  to  take  an  ideal  list  and  by  elimination 
reduce  it  to  within  the  limits  of  the  appropriation.  The 
following  $800  equipment  is  the  one  selected  by  the  author 
for  his  own  classes,  after  several  years  of  planning  and 
investigation.  During  this  time,  a  great  many  school  men 
who  have  had  to  deal  with  the  same  problem,  and  a  num- 
ber of  expert  printers  were  consulted  and  asked  for  criti- 
cism of  the  proposed  list  under  the  conditions  which  the 
equipment  has  to  meet : 

I  Vi  li.  p.  motor. 

I   10x15   Chandler  &  Price   Gordon   Press   with   3  chases. 

I  Steel    chase. 

I  Boston  Staple  Binder,   Style  A. 

I  26"  Chandler  &  Price  Paper  Cutter. 

I  Utility  Imposing   Stone   Frame   and   Stone.   26x44. 

I  No.  68  New  Departure  Cabinet   (50  cases). 

I  No.  2  Paper  and  Card   Stock   Cabinet. 

1  No.  8  Bettis  Lead  and   Slug  Case. 

2  Pairs   news  cases. 

2  Pair    2-3    case    tilting   brackets. 
I  Metal  furniture  case. 


THE  EQUIPMENT ITS  SELECTION   AND  COST  61 

I  No.   I   Harris  Rule  Case. 
5  8^x13  all  brass  galleys. 
I   I2xi8  all  brass  galley. 
8  8x2^  Yankee  Job  Sticks. 

1  r8x2^  Yankee  Job  Stick. 

2  Doz.   No.   I   W'ickersham  Quoins. 
2  Keys,   No.    i. 

I  Doz.  Spring  Tongue  Gauge  Pins. 

I  Quart   Success  benzine  can. 

I  Benzine  brush. 

I  No.  2  press  brake. 

•  I  Sx6    planer. 

I  3^x8  proof  planer. 

1  2^x4^^  mallet. 

•  2  Pair  roller  supporters. 

20  Pounds  6  Point  Authors  Roman  Wide. 
40  Pounds  8  Point  Authors  Roman  Wide. 
40  Pounds  10  Point  Authors  Roman  Wide. 
20  Pounds  12  Point  Authors  Roman  Wide. 
20  Pounds  18  Point  Authors  Roman  Wide. 

2  Fonts  6  Point  Old  Roman  Black. 
2  Fonts  8  Point  Old  Roman  Black. 
2  Fonts  10  Point  Old  Roman  Black. 
2  Fonts  12  Point  Old  Roman  Black. 
2  Fonts  18  Point  Old  Roman  Black. 
I  Font  24  Point  Old  Roman  Black. 
I  Font  30  Point  Old  Roman  Black. 
I  Font  36  Point  Old  Roman  Black. 
I  Font    48  Point  Old  Roman  Black. 

I  Font       8  Point  Engraver's  Old  Black. 

4  Fonts  12  Point  Engraver's  Old  Black,  L.  C 

•  2  Fonts  12  Engraver's  Old  Black,  Caps. 
■  I  Font  24  Point  Engraver's  Old  Black. 

I  Font  48  Point  Elzeverine  Initials. 

5  Pounds  6  point  spaces  assorted. 
10  Pounds  8  point  spaces  assorted. 
10  Pounds  10  point  spaces  assorted. 
10  Pounds  12  point  spaces  assorted. 
10  Pounds  18  point  spaces  assorted. 

.   5  Pounds  24  point  spaces  assorted. 


Q2  PRINTING 

5  Pounds  30  point  spaces  assorted. 

5  Pounds  36  point  spaces  assorted. 

5  Pounds  48  point  spaces  assorted. 

5  Pounds  6  point  quads  assorted. 
10  Pounds  8  point  quads  assorted. 
10  Pounds  10  point  quads  assorted. 
10  Pounds  10  point  2  and  3-em  quads. 

5  Pounds  each  12,  18,  24  point  quads  assorted. 

5  Pounds  each  30,  36,  48  point  quads  assorted. 
10  Pounds  10  point  leaders,  three  dots  to  em. 
10  Pounds    8  point  leaders,  three  dots  to  em. 
50  Pounds  each  2  point  L.  S.  leads  and  6  point  L.  S.  slugs. 

3  Pounds  L.  S.  brass  rule  hair  line,  side  centered  on  2  point  body. 

3  Pounds  L.   S.  brass  rule,   i  point  face,  side  centered  on  2  point 
body. 

2  Pounds     2  point  L.  S.  black  face  rule. 

2  Pounds     4  point  L.  S.  black  face  rule. 

2  Pounds    6  point  L.  S.  black  face  rule. 

2  Pounds  10  point  L.  S.  black  face  rule. 

24  Pounds   metal   furniture. 

I  Font  No.  I  brass  and  copper  spaces. 

4  Font  solid  brass  panel  ends. 
I  Set  12  point  brass  squares. 

'  100  1x3  brass  label  holders. 
5^r  yi"  Boston  staples. 

In  case  this  amount  of  money  is  not  available  for  a 
printing  equipment,  this  list  may  be  modified  to  come  within 
the  necessary  limit.  By  substituting  a  smaller  press  and 
cutter,  by  getting  stands  instead  of  cabinets  for  the  type 
and  stone,  by  eliminating  the  stock  cabinet,  motor,  and 
stapler,  and  by  reducing  the  quantities  of  various  items, 
one  may  still  have  an  excellent  equipment.  The  following 
is  such  a  suggestive  list,  and  can  be  bought  for  $400: 

Press,  8"xi2"  with  four  chases. 

Cutter,  2314". 

V2  Doz.  job  sticks. 

I  Doz.  gaup-c  pins. 


THE  EQUIPMENT ITS  SELECTION   AND   COST  ^^ 

1  Doz.  quoins. 

2  Keys. 

I  Benzine  can. 

I  Benzine  brush. 

I  Waste  c^n. 
V2  Doz.  brass  galleys,  8^>4"xi3". 
10  Lbs.  metal  furniture. 

I  Two  lb.   font  labor  saving  brass  rule,   i   point,   side  centered  on 
2  point  body. 

I  Two  lb.  font  brass  rule,  lal^or  saving,  2  point. 
50  Lbs.  L.  S.  leads,  2  point. 
25  Lbs.  L.  S.  slugs,  6  point. 

I  Rule  case. 

I  ^Metal   furniture  case. 

I  Planer. 

I  Proof  planer. 

I  ^lallet. 

I  Lead  and  slug  case. 

1  Case  wood  furniture. 

24  California  job  cases. 

2  Pairs  news  cases. 

I  Double  case  stand.  24  cases. 

1  Stone  and  frame,  26"x44". 
TO  Pounds    8  point  type. 

50  Pounds  10  point  type. 

25  Pounds  12  point  type. 

2  Fonts  18  point  type. 
I  Font    24  point  type. 

5  Pounds    8  point  quads  and  spaces. 

T5  Pounds  10  point  quads  and  spaces. 

10  Pounds  12  point  quads  and  spaces, 

5  Pounds  18  point  quads  and  spaces, 

2V2  Pounds  24  point  quads  and  spaces^ 


64 


PRINTING 


FIG.  31. 


ARRAXGEMKXT   AND  DISPOSITION   OF   EQUIPMENT  65 

ARRANGEMENT  AND  DISPOSITION  OF 
EQUIPMENT 

If  the  machinery,  cabinets,  tables,  etc.,  are  compactly 
and  properly  arranged  in  good  relative  positions,  a  good 
job  outht  can  be  placed  and  used  in  much  smaller  quarters 
than  at  first  seems  possible.  The  printshop  is  one  place 
where  a  great  amount  of  floor  space  between  the  various 
parts  of  the  equipment  is  not  entirely  essential.  When  the 
groups  or  individuals  have  been  set  to  work,  there  is  no 
necessity  for  a  great  amount  of  passing  back  and  forth. 
This  is  mentioned  for  the  benefit  of  those  who  feel  that 
printing  cannot  be  installed  unless  there  is  an  enormous 
amount  of  floor  space  available.  Of  course,  large  rooms 
are  desirable,  but  after  all,  the  effectiveness  and  availability 
of  the  equipment  turn  on  the  point  of  convenient  arrange- 
ment of  related  parts,  so  that  a  job  may  pass  easily  from 
one  stage  to  another  without  disturbance  or  interruption. 
In  other  words,  the  arrangement  must  be  such  that  all  the 
operations  of  the  job  shop  may  be  in  progress  at  the  same 
time  and  that  without  confusion.  In  the  first  place,  the 
type  cabinet  or  case  stand  should  be  convenient  to  plenty 
of  table  space  so  that  the  boys  may  carry  their  cases  back 
and  forth  without  difficulty. 

The  proof  stand  or  press  and  the  imposing  stone  should 
be  of  easy  access  to  those  who  are  working  at  the  type  case 
and  at  the  same  time  in  close  reach  of  the  pressman. 

A  good  position  for  the  press  is  in  a  well  lighted  corner 
far  enough  from  the  walls  to  permit  easy  passing  of  the 
pressman  for  the  purpose  of  oiling,  cleaning,  and  general 
care  of  the  press.    The  motor  may  be  placed  in  the  corner 


66  PRINTING 

back  of  the  press  and  entirely  out  of  the  way.  The  paper 
cutter  and  stock  cabinet  should  be  placed  as  closely  together 
as  possible  not  to  interfere  with  the  action  of  each  other. 
There  cannot  well  be  too  much  in  the  way  of  drawers, 
wall  cases,  and  shelving,  for  the  work  of  the  students,  small 
items  of  supplies,  inks,  rollers,  benzine  and  waste  cans,  etc. 
These  conveniences  can  be  added  here  and  there  in  small, 
unoccupied  spaces,  with  just  a  little  time  and  a  very  small 
bit  of  expense.  In  this  way  and  this  only,  can  a  place  be 
provided  for  everything  with  any  assurance  that  every- 
thing, at  any  one  time,  may  be  found  in  its  place.  These 
repositories  should  be  properly  labelled.  Such  additional 
items  and  conveniences  not  included  in  any  list  of  equip- 
ment, are  nevertheless  among  the  essentials,  and  their  pres- 
ence greatly  facilitates  and  systematizes  the  work.  The 
matter  of  table  space  cannot  be  too  greatly  emphasized. 
Not  only  are  tables  used  for  rests  for  type  cases  but  the 
make-up  galleys  are  laid  upon  them  for  convenience  in 
work.     Proof  reading  also  requires  table  space. 

It  seems  proper,  under  this  heading  to  speak  of  the 
disposition  of  the  various  sizes  of  type  for  the  greatest 
convenience.  Of  course,  the  type  ought  to  be  divided  and 
placed  so  as  to  be  accessible  to  the  greatest  possible  num- 
ber. So,  except  in  very  small  fonts,  each  size  should  be 
divided  and  put  into  as  many  cases  as  can  be  supplied  with 
working  quantities  of  type.  Thus,  fifty  pounds  of  ten 
point,  which  is  extensively  used  in  general  work,  may  be 
divided  among  five  or  even  more  cases.  In  this  way.  ten 
pupils  can  1)e  accommodated  at  the  ten  point  cases  at  one 
time,  since  two  can  work,  to  a  very  fair  advantage,  at  one 
case. 


ARRANGEMENT  AND  DISPOSITION   OF   EQUIPMENT          67 

The  class  works  in  groups,  one  setting  type,  one  proofing 
and  correcting,  one  making  up  forms,  while  the  fourth 
operates  the  press.  At  the  same  time,  there  usually  are 
jobs  going  forward  in  different  kinds  and  sizes  of  type. 
So,  it  is  difficult  to  think  of  needing  accommodations  for 
more  than  ten  students  at  one  size  and  kind  of  type  at  one 
time. 


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68 


FIRST  GRADE  POEMS 

Do  you  best  your  very  best^ 
And  do  it  every  day; 
Little  boys  and  little  ^irls, 
i  nis  IS  the  Avisest  wav. 

See--saAv!    See--saw! 
Here  ^ve  go  up  and  do^vn. 
See--sa^v!    See--saAv! 
inis  IS  the  way  to  to\vn- 

The  ^vorld  s  a  very  happy 
place^  ^vhere  every  child 
snould  dance  and  sing. 

And  al^vays  have  a  smiling 
race. 

And  never  sulk  xor  anything. 

Politeness  is  to  do  or  say 


69 


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71 


Series  1,  Senior  Ei^th.— Print  Shop:     7 e  Htghe  Schoole. 


HISTORY 

Senior  !Ei^hth  Grade,  December  1,  1913 

9:30  to  11:30  A.  M. 

Note:  Answer  any  ten  of  the  following  twelve  questions. 
I.      For  what  are  the  following  places  to  be  remembered? 

a.  Jamestown.  c.      Harper's  Ferry. 

b,  Vicksburg.  d.     Yorktown. 


THE   SERVICE 
PHILOSOPHY 

/  Believe  in 


INCERITY— That  Power  of  the 
personaHty  that  wins  confidence, 
and  estabUshes  satisfaction. 

NDURANCE— The  essence  of  vi- 
taUty  derived  from  Health  and 
strength. 


BOOKBINDING 

and 

A  Course  of  Instruction  for  Each  Grade  of 
THE  Elementary  School 


By 

S.  J.  VAUGHN 

Kead  Department  of  Manual  Arts,  State  Normal  School; 
DeKalb,  Illinois. 


1914 

Public  School  Publishing  Co-, 

Bloomixgtox,  III. 


Copy?  i^ht  1QI2 
le  Public  School  Publishing  C§o 


n 


Table  of  Contents: 


PAGE 

Introduction 6 

Classes  of  Bindings 9 

Case  Binding 11 

Library  Binding • 22 

Extra  Binding 31 

Rebinding 40 

Equipment   45 

Suggestive  Course 47 

First  Grade •  • 51 

Second  Grade 52 

Third  Grade 52 

Fourth  Grade •  •  54 

Fifth  Grade 57 

Sixth  Grade •  •  58 

Seventh  Grade 58 

Eighth  Grade « - '. .  . .  .  .  60 


III 


IXTRODUCTIOX 

There  are  a  number  of  well  defined  reasons  why  Ijook- 
bindini^-  may  justly  claim  recognition  as  an  educational 
factor  in  our  schools. 

In  the  first  place,  the  permanent  and  vital  character  of 
the  book  in  one  form  or  another  has  given  it  a  place  of  re 
spect  in  all  civilizations.  The  book  is  the  final  form  of  all 
enduring  literature  and  indeed  of  all  enduring  thought.  It 
is  the  epitome  of  the  printer's,  the  engraver's,  the  illustra- 
tor's, the  designer's,  and  th^  binder's  art,  and  is  the  meet- 
ing point  of  all  the  crafts. 

So  the  book  idea  appeals  very  strongly  to  people  both 
in  and  out  of  school.  Bookbinding  is  perhaps  the  most 
logical  and  consistent  of  all  the  crafts,  in  its  development 
from  the  simple  to  the  more  complex  forms.  In  this  easy 
gradation,  is  repeated  the  history  of  the  book  itself  and  of 
its  development. 

From  this  point  of  view,  books  fall  into  four  rather  dis- 
tinct classes. 

1.  The  simplest  idea  of  binding  is  the  holding  together 
in  some  manner,  a  nuinl^er  of  single  leaves.  So  the  atten- 
tion is  directed  simply  to  methods  of  fastening  together 
leaves  of  related  matter  for  convenience  in  handling. 

2.  After  this  simple  convenience  has  been  met,  the 
matter  of  protecting  the  leaves  forces  itself  upon  us,  and 
the  attention  is  turned  almost  wholly  to  devising  ways  of 
making  durable  and  beautiful  covers.  The  various  forms  of 
separate  covers  are  made  to  accomplish  these  ends. 


3-  Later,  the  attention  turns  back  to  the  book  proper 
and  the  different  methods  of  putting  together  a  number  of 
sections  which  become  necessary  in  larger  books  made  of 
folded  printed  sheets.  The  emphasis  now  naturally  falls 
upon  this  new  feature  of  fastening  sections  together,  and 
so,  various  methods  of  sewing  are  developed. 

4.  In  the  fourth  division,  the  emphasis  goes  upon  the 
covers  and  the  decoration.  Here  come  in  the  tooling,  let- 
tering, inlaying  and  such  processes  as  are  usually  included 
in  the  term  finishing. 

APPLY  TO  CHILDREN'S  WORK. 

Not  only  is  the  book  idea  enduring  and  vital,  and  its 
development  logical  and  consistent,  but  the  book  work  may 
be  intimately  related  to  the  other  activities  of  the  school, 
the  pupil  bringing  about  with  his  own  effort  the  satisfaction 
of  his  own  distinct  needs. 

In  making  books  for  spelling,  reading,  language,  na- 
ture study,  art,  etc.,  these  needs  and  relations  are  evident. 

These  books  with  their  stories,  their  covers,  and  their 
end  papers,  offer  abundant  material  for  illustration,  design, 
lettering,  etc.,  in  the  art  work. 

Again,  the  bookbinding  work  in  its  elementary  aspects 
of  construction  is  peculiarly  adapted  to  children.  This  is 
evidenced  by  the  fact,  easily  demonstrated,  that  children  do 
as  well  in  their  particular  grades  of  work  as  matured  but 
inexperienced  people  can  do  in  the  same  grades  of  work. 

Aside  from  the  logical  development  and  the  genuine- 
ness of  the  problems  presented  and  their  intimate  relations 


to  the  other  work,  perhaps  the  strongest  argument  in  favor 
of  bookbinding"  in  the  schools,  is  the  fact  of  its  adaptabil- 
ity to  the  conditions  of  the  ordinary  school  room,  with  but 
little  equipment  and  hence  but  little  expense. 

The  work  may  be  carried  on  in  the  primary  and  inter- 
mediate grades  with  as  small,  but  practically  the  same 
equipment,  as  is  necessary  for  such  activities  as  "cardboard 
construction"  and  kindred  work. 

It  ^^■ill  be  seen  by  reference  to  page  45  how  inexpensive 
even  a  good  equipment  for  upper  grade  and  high  school 
work  is. 


I. 

CLASSES  OF  BINDINGS. 

Forwarding—  Finishing. 

In  advanced  bookljinding,  there  are  the  two  general 
divisions  of  work : — Forwarding,  which  includes  in  new 
books,  sewing,  backing,  putting  on  boards,  and  covering; 
and  finishing,  which  has  to  do  with  the  lettering,  tooling, 
inlaying,  and  general  decorative  treatment. 

The  elementary  and  high  school  treatment  of  the  sub- 
ject of  bookbinding,  such  a  treatment  as  is  undertaken  in 
the  present  volume,  is  almost  wholly  concerned  with  the 
various  processes  included  in  the  term  Forwarding,  which 
in  rebinding  includes  a  number  of  other  steps  not  men- 
tioned above. 

Case  Binding;  Library  Binding;  Extra  Binding. 

Based  upon  their  methods  of  sewing,  backing,  covering, 
finishing,  etc.,  there  may  be  said  to  be  three  general  classes 
of  bindings: — Case  Binding,  Library  Binding,  and  Extra 
Binding.  These  are  arbitrary  terms  applied  to  methods  of 
binding  which  have  been  fully  established  and  recognized. 

In  the  modern  commercial  binderies,  all  kinds  of  modi- 
fications, com1:)inations  and  imitations  are  made,  so  that  it 
is  often  difficult  to  tell  by  external  appearances  of  bindings 
to  what  types  they  belong. 

It  is  a  common  thing  to  see  a  case  binding  in  full 
leather. 

The  proper  way  to  have  a  book  1)ound  or  rebound  is  to 
have  written  specifications  which  indicate  details  of  meth- 
ods, materials,  etc. 


10  BOOK  BINDING 

The  following  are  typical  specifications  for  Case  Bind- 
ing:— 

1.  Plates  guarded. 

2.  Sewed   all   along  with  five    punctures  and    kettle- 
Stitches. 

3.  Full  or  half  buckram. 

4.  Glued  and  backed. 
5o    Attached  back. 

60   Commercial  silk  headband. 

7.  First  and  last  leaves  used  as  pastedowns, 

8.  Edges  uncut. 


CASE  BINDING  11 

11. 

CASE  BIXDIXG. 

Case  Bindings  or  casings  (for  the  craft  binder  refuses 
to  call  them  bindings)  are  those  covers  which  are  made 
separately  from  the  books  and  laid  on.  These  covers  have 
the  characteristics  enumerated  in  the  specifications  and  are 
the  unsubstantial  covers  usually  found  on  modern  cheap, 
temporary  books. 

If  the  book  is  to  be  bound  from  original  sheets,  each 
sheet  is  folded  into  a  section.  Such  a  section  is  called  a 
signature.  The  number  of  leaves  in  a  folded  sheet  or  sec- 
tion gives  the  name  to  the  book.  A  sheet  folded  once, 
making  two  leaves,  is  a  folio ;  twice,  making  four  leaves,  a 
quarto  or  4to ;  three  times,  making  eight  leaves,  an  octavo 
or  8vo;  four  times,  making  sixteen  leaves,  a  i6mo;  etc.  It 
is  seen  by  this  that  owing  to  the  varying  sizes  of  paper,  any 
form  of  book  may  vary  greatly  in  size.  However,  the  fol- 
lowing may  be  taken  as  a  general  standard  of  sizes : — 

i6mo  5x7  inches. 

Octavo  (8vo)  6x9  inches. 

Quarto   (4to)    ioxi2j^  inches. 

End  Paper 

If  there  have  not  been  left  an  abundance  of  blank  leaves 
at  the  first  and  last  of  the  book,  at  least  four  folios  are 
cut — two  for  each  end — and  these  become  the  first  and  last 
sections  of  the  book. 

The  sections  are  now  assembled  in  proper  order,  a  tin 
is  placed  between  sections  at  several  places  in  the  book  and 
all  are  put  under  heavy  pressure.    This  is  usually  done  at 


1-2  BOOK  BINDING 

the  last  of  a  recitation,  and  the  hook  left   in  press  over 
night,  so  that  the  sections  may  he  perfectly  flat. 

Mark  Up— Puncture. 

After  the  book  is  carefully  evened  up  hy  knocking  the 
back  and  head  against  the  table,  it  is  marked  up ;  that  is, 
a  mark  is  put  on  each  outside  endpaper  near  the  head,  so 
that  the  head  of  the  book  may  be  recognized  without  open- 
ing; and  then  places  are  marked  for  five  punctures  along 
the  back.  The  top  puncture  may  be  put  about  three- fourths 
of  an  inch  or  an  inch  from  the  head,  and  the  bottom  one 
about  one  and  one- fourth  or  one  and  one-half  inches  from 
the  foot.  It  is  considered  that  the  head  should  be  some- 
what stronger,  since  it  must  bear  the  strain  of  pulling  the 
book  from  the  shelf. 

Then  with  a  small  saw  or  a  sharp-edged  file,  punctures 
are  made  across  the  back  at  the  marks.  These  should  be 
just  deep  enough  to  reach  through  the  inside  folio  of  eacn 
section. 

Sewing  First  Two  Sections. 

Now  the  book  is  ready  to  sew.  It  is  placed  on  the  table 
to  the  left  of  the  workman  with  the  back  toward  him  and 
the  head  to  the  left.  With  a  linen  thread  and  a  long,  slim 
needle  ready,  the  workman  takes  up  the  section  of  end- 
papers lying  on  top  and  turns  it  entirely  over,  laying  it  ex- 
actly in  front  of  him  with  the  head  to  his  right.  Fig.  14. 
With  his  right  hand  he  inserts  the  needle  into  the  head 
puncture,  while  with  his  left  hand  in  the  middle  of  the  sec- 
tion between  the  leaves,  he  draws  the  needle  through  to  the 
inside  and  runs  it  out  at  the  foot  puncture.  "In  at  the  head 
puncture  and  out  at  the  foot."   The  second  section  is  turned 


CASE  BINDING  13 

over  upon  the  first,  and  the  needle  run  in  at  the  foot  punc- 
ture and  out  at  the  second  puncture  from  the  foot.  Then 
it  is  inserted  at  the  second  puncture  from  the  foot  of  the 
first  section  and  immediately  run  out  at  the  same  puncture 
but  on  the  opposite  side  of  the  thread  which  runs  along  in- 
side the  first  section.  Then  apply  this  unfailing  rule  when 
in  doubt  as  to  what  puncture  to  go  into: — "Put  the  needle 
into  a  puncture  so  located  that  it  will  not  undo  work  already 
done,  and  that  the  thread  will  not  be  left  exposed  on  the 
outside  of  the  book." 

Applying  this  rule,  it  is  seen  that  the  needle  must  be 
put  into  the  second  puncture  of  the  second  section.  This 
operation  is  repeated  at  each  puncture  until  the  head  is 
reached.  When  the  needle  has  been  drawn  from  the  head 
puncture  of  the  second  section,  the  threads  coming  out  of 
the  two  head  punctures  are  pulled  up  tight  and  are  tied  into 
a  double  knot,  a  Fig.  14.  Care  must  be  used  in  pulling 
the  thread  so  as  not  to  tear  the  paper. 

Kettlestitch; — Sewing  AlI=aIong. 

The  third  section  is  now  laid  on  and  the  needle  run  in 
at  the  head  puncture  and  out  at  the  second  puncture  from 
the  head.  Now  comes  the  elusive  "kettlestitch."  The  needle 
is  run  under  the  second  section  at  the  right  of  the  second 
puncture  and  out  at  the  left  of  the  same  puncture,  as  at 
b  Fig.  14.  The  thread  is  drawn  loosely  so  as  to  leave  a 
small  loop  through  which  the  needle  is  passed.  It  is  now 
drawn  taut  and  the  needle  run  back  into  the  second  punc- 
ture of  the  third  section.  This  stitch  is  made  every  time 
the  needle  comes  oitf  of  a  puncture  until  the  sewing  is  fin- 
ished.    \\^hen  the  last  puncture  is  reached,  a  double  kettle- 


14 


BOOK  BINDING 


ng.Je^ 


f^'SiS '  Laying  oaof  the  coye^. 


F'^g.lSHalfc/oth  cover 
•sJrow'ng  tur/t-!ns  at  a. 


CASK  BINDING  15 

Stitch  is  made  and  the  thread  cut  a  half  inch  from  the 
knot.  This  is  what  is  meant  by  ''sewing  all  along."  If  the 
original  thread  should  not  be  long  enough  or  should  break, 
a  new  thread  is  tied  on  with  a  weaver's  knot,  Fig.  15,  al- 
ways inside  the  book  and  as  closely  as  possible  to  the  punc- 
ture to  avoid  pulling  the  knot  through  the  next  puncture. 

Backing=boards — Backing. 

The  book  is  now  placed  between  backing  boards  wdth 
only  a  small  portion  of  the  book  projecting  above  the 
boards  and  then  put  into  the  lying  press  (i.  Plate  i),  and 
clamped  up  tightly.  The  part  projecting  should  about  equal 
the  thickness  of  the  cardboard  used  for  the  cover. 

This  book  is  not  to  be  rounded  any  more  than  is  abso- 
lutely necessary  in  the  backing.  The  process  of  backing  is 
necessary  because  of  a  thickened  condition  of  the  back  as  a 
result  of  the  numerous  threads  and  perhaps  a  few  guards 
that  have  been  added  to  it.  By  clamping  the  book  tightly 
and  hammering  the  back,  the  thickness  can  be  reduced  by 
forcing  the  edges  over  the  boards  as  at  Fig.  16. 

After  the  book  is  firmly  fastened  in  the  press,  the  back 
is  covered  with  thin  glue,  which  is  rubbed  in  with  a  stiff 
brush  and  then  wiped  off,  so  that  it  remains  only  in  the 
little  depressions  between  the  sections.  Within  about  fif- 
teen minutes,  the  glue  reaches  a  kind  of  elastic  condition, 
and  then  the  hammer  is  brought  into  use. 

By  light  strokes  along  the  center  of  the  back,  and  then 
gradually  farther  out  toward  the  end  sections,  the  edges 
of  the  sections  are  forced  away  from  the  center  and  made 
to  project  finally  over  the  edges  of  the  backing  boards, 
making  the  joint. 


16 


BOOK  BINDING 


H  5 
^  (^  .S  .H 

^    O   '-'    u 


CM 


ba 

a 


a;  ra  <-<  c/j 

rt  ^  o  +j 
0)  OJ  f^  ^ 

lO  sO  t^  00 


bis-"  ,,  '"' 
c -^  a;  D 

>,  rt  C  rt 


CASE  BINDING  17 

Super; — Headband;— Back  Strip. 

When  the  hook  is  dry,  a  piece  of  super  or  thin  canvas 
is   CTkied   to  the  hack   and  al^out  one   and  one-half   inches 

O  1 

down  the  endpapers,  which  are  then  cut  off  along  the  edges 
of  this  super.  This  forms  what  is  called  the  slip.  The 
super  should  he  a  little  shorter  than  the  book  and  about 
two  or  three  inches  wider  than  the  back  of  the  book. 

A  piece  of  cotton  or  silk  stock  headband  is  now  glued 
to  the  back  at  the  head  and  projecting  about  one-eighth  of 
an  inch  above  it.  Then  a  strip  of  thick,  tough  paper,  just 
large  enough  to  cover  the  back,  is  glued  on.  This  finishes 
the  book  ready  for  the  cover. 

Squares;  — Foredge. 

During  the  processes  just  described,  while  waiting  for 
the  glue  to  dry,  the  materials  are  gotten  for  the  cover. 
Two  boards  are  cut  as  wide  as  the  book  and  from  one- 
fourth  to  three-eighths  of  an  inch  longer.  This  makes  the 
squares  one-eighth  or  three-sixteenths  of  an  inch  and  de- 
termines the  width  of  the  joint  at  the  back,  since  the  board 
must  go  forward  sufficiently  to  make  the  projection  at  the 
foredge  the  same  as  at  the  head  and  foot.  This  projection 
is  called  the  squares. 

Several  things  must  be  considered  in  determining  the 
size  of  the  squares.  The  most  important  are  protection, 
strength,  and  beauty.  From  the  standpoint  of  good  pro- 
portion, of  course,  the  large,  thick  book  would  demand 
large  squares,  whereas  protection  of  the  edges  may  not  re- 
quire them  so  long;  while  the  strength  and  durability  of 
the  binding  would  suggest  shorter  squares  still. 


18  BOOK  BINDING 

A  large  book  set  upon  a  shelf  is  forced  by  its  own 
weight  down  between  the  boards  against  the  shelf,  strain- 
ing or  breaking  the  cover  at  the  back. 

Turn=in; — Size  of  Cover  Cloth. 

In  cutting  leather,  cloth,  and  paper,  it  is  a  rule  to  allow 
three-fourths  of  an  inch  for  each  turn-in.  So  this  is  ob- 
served in  cutting  material  for  this  cover.  To  find  the  size 
of  the  cloth  for  a  full  cloth  cover,  it  is  necessarv  to  add 
together  the  widths  of  the  two  boards,  the  thickness  of  the 
back,  the  two  joints  and  one  and  one-half  inches  for  the 
turn-ins  at  the  foredge.  This  sum  gives  the  dimension,  of 
course,  from  the  foredge  of  one  cover  around  the  back  to 
the  foredge  of  the  other  cover.  The  dimension  of  the  cloth 
lengthwise  of  the  book  is  one  and  one-half  inches  greater 
than  the  length  of  the  board. 

To  make  the  cover,  the  cloth  is  laid  wrong  side  up  on 
the  table.  Fig.  17.  Three-fourths  of  an  inch  is  measured 
down  from  the  top  and  a  pencil  line  is  drawn,  a,  a'.  Then 
the  middle  of  the  cloth  from  left  to  right  is  found  and 
marked  as  indicated  by  the  crosses.  From  these  central 
points,  the  lines  b  b'  and  c  c'  are  located  which  mark  the 
positions  of  the  back  edges  of  the  boards  and  of  course, 
are  as  far  apart  as  the  thickness  of  the  book  plus  the  two 
joints.  Then  the  boards  are  placed  so  that  they  fit  into  the 
right  angles  formed  by  lines  bb'  and  cc'  and  aa',  and  a 
pencil  mark  as  dd',  is  made  along  the  foredge  and  bottom 
of  each  board,  completing  the  rectangles.  The  strips  of 
cloth  outside  these  rectangles  are  the  turn-ins. 


CASE  BINDING  19 

Mitres. 

With  scissors  or  a  knife  the  corners  are  chpped  out  as 
at  e,  which  is  called  making  the  mitres.  It  is  clear  that  if 
the  corner  were  cut  entirely  up  to  the  corner  of  the  rect- 
angle, there  would  be  danger  of  exposing  the  corner  of  the 
board,  so  a  distance  is  left  about  equal  to  the  thickness 
of  the  board. 

Pasting. 

The  surface  of  the  cloth  except  the  back  strip  between 
the  boards,  is  covered  with  a  thin  coat  of  paste,  the  boards 
are  laid  on,  and  the  edges  of  the  cloth  are  turned  over  the 
edges  of  the  boards  and  pressed  down  as  at  a.  Figs.  i8  and 
19,  care  being  taken  to  get  the  cloth  firmly  against  the 
edges  of  the  boards. 

AA^ith  less  mature  pupils,  it  is  sometimes  advisable  to 
put  on  only  one  board  at  a  time,  in  which  case  the  head 
and  foot  of  the  back  strip  are  treated  as  at  g,  Fig.  17.  The 
cover  is  now  ready  for  the  press.  It  is  closed  in  book 
fashion  with  a  pressing  tin  or  board  between  the  covers. 
A  piece  of  clean  waste  paper  is  put  between  each  board  and 
the  pressing  tin  or  board.  A  waste  paper  and  a  board  are 
placed  on  each  side  of  the  cover  and  all  put  into  the  press. 
The  cover  should  be  left  in  the  press  over  night.  The  waste 
paper  is  very  important.  W^ithout  it,  the  tins  are  likely  to 
stick  to  the  book  "and  the  moisture  of  the  paste  to  cause 
rust  which  mars  the  book.  This  caution  is  never  out  of 
place  and  can  never  be  repeated  too  often,  j:  e.,  do  not  use 
too  thin  paste ;  do  not  use  too  much  paste ;  put  on  the 
paste  rapidly.  ^ 


20  BOOK  BINDING 

Laid  On. 

Now  the  cover  is  ready  to  be  laid  on.  A  strip  of  tough 
paper  just  as  wide  and  as  long  as  the  back  of  the  book,  is 
now  pasted  along  the  back  cloth  between  the  boards  f,  Fig. 
17,  and  inserted  under  the  cloth  which  is  turned  over  at 
the  two  ends. 

If  the  cover  were  to  be  left  hollow,  the  paste  would  be 
applied  to  the  slips  only;  but  in  this  case,  where  the  back 
cloth  is  to  be  attached,  both  the  slips  and  the  back,  as  well 
as  the  strip  between  the  boards  of  the  cover,  are  thoroughly 
covered  with  paste,  and  the  book  set  into  the  cover  in  its 
proper  position.  While  the  workman  supports  the  book 
with  one  hand,  he  brings  up  one  side  of  the  cover  firmly 
against  the  book.  The  slip  on  this  side  becomes  attached 
to  the  board.  Then  the  book  is  laid  down  on  the  side  just 
pasted,  while  the  other  cover  is  pulled  firmly  to  bring  the 
back  cloth  against  the  book,  and  is  then  pressed  down  upon 
the  paste-covered  slip  or  super  b,  Fig.  18.  Examination  is 
then  made  to  see  if  the  book  is  straight  in  the  cover,  if 
the  squares  are  correct,  etc.  If  it  is  not  straight,  it  is  re- 
moved and  the  process  repeated. 

When  the  cover  is  on  straight,  the  cloth  is  rubbed  firmly 
along  the  back  and  into  the  joints.  When  it  is  thoroughly 
attached  at  the  back,  the  book  is  put  lightly  into  the  press, 
after  a  tin,  inserted  between  two  papers,  has  been  put  be- 
tween the  cover  and  the  book  on  each  side. 

Paste- downs— Bone  Folder. 

The  next  step  is  the  pasting  down  of  the  endpapers. 
The  cover  is  lifted  on  one  side  and  a  piece  of  waste  paper 
is  placed  beneath  the  endpaper  which  is  then  covered  with 
paste. 


CASE  BIXDIXG 


21 


This  done,  the  endpaper  is  drawn  back  upon  the  board 
and  rubbed  down  with  the  hands.  Then  with  a  bone  folder, 
3,  Plate  1,  the  endpaper  and  slip  are  rubbed  under  the  back 
edge  of  the  board  at  the  joint. 

The  cover  is  now  closed  upon  the  book  and  immediately 
opened.  If  it  is  found  that  in  closing,  the  endpaper 
wrinkles  or  proves  in  anyway  wrong,  the  wrinkles  are 
smoothed  out  and  other  defects  corrected.  If  necessary, 
the  endpaper  may  be  lifted  carefully  from  the  board  and 
then  put  down  again.  Then  the  cover  is  closed  again,  and 
again  inspected.  If  it  is  all  right,  the  other  endpaper  is 
treated  in  like  manner,  and  the  book  is  put  lightly  into 
press,  not  neglecting  waste  paper  and  tins,  and  left  untd 
thoroughly  dry. 

Paste. 

The  best  paste  Is  made  as  follows: — Add  one-half  a 
teaspoonsful  of  powdered  alum  and  a  few  drops  of  wmter- 
green  to  one  pint  of  flour.  Mix  with  water  to  the  con- 
sistency of  cream.  Cook  until  it  becomes  stiff  and  wax- 
like, stirring  constantly.  Then  pour  in  some  hot  water,  stir 
and  cook  again  until  it  becomes  the  desired  consistency. 
Ordinary  library  paste  or  photo  mount  is  not  satisfactory. 


22  BOOK  BINDING 


III. 

LIBRARY  BINDING. 

The  name  Library  Binding"  may  be  somewhat  mislead- 
ing if  one  has  in  mind  the  bindings  commonly  seen  in  li- 
braries. This  binding  is  practically  what  was  recommended 
for  the  libraries  of  England  by  a  committee  from  the  Eng- 
lish Society  of  Arts,  appointed  to  investigate  the  causes  of 
the  lack  of  durability  in  bindings  and  to  suggest  remedies 
for  defects  found. 

The  following  specifications  indicate  the  distinguishhig 
features  of  this  binding: — 

1.  Half  leather,  paper  sides. 

2.  Sewed  on  four  or  more  tapes. 

3.  Double  boards. 

4.  French  joint. 

5.  Zigzag  colored  endpapers. 

6.  Head  cut,  out  of  boards,  and  colored. 

7.  Backed  and  slightly  rounded. 

8.  Cord  inserted  under  leather  instead  of  headband. 

9.  Leather  attached  to  back. 

Zigzag  Endpaper. 

After  the  sheets  are  folded  and  pressed  as  described  in 
the  previous  binding,  the  zigzag  endpapers  are  prepared. 
In  cutting  these  endpapers,  four  sheets  of  white  paper  to 
match  the  book  are  cut  and  folded,  two  of  the  folios  being 
considerably  wider  than  the  book  so  as  to  allow  for  the 
fold  e.  Fig.  20.  Each  leaf  of  the  large  folios  is  folded  back 
about  one- fourth  of  an  inch  from  the  original  fold.     Then 


LIBRARY   BINDING 


23 


^'^i<:^Jt/tch. 


^'^-  &,th. 


beg 


"^n/n^  of 


^^'^•ZZ.Tle a dy  for  backing. 
^'  '^^/nt.  b.SacHm§bocii'Cfj. 
C.  Ly/ng.  Orfin IS  hing press. 


a.d  c  i^ 


^If^fP-^t^ng  en  double 


Putting  on 

the/eatherboLcK. 
a.,  cord. 


24  BOOK  BINDING 

another  folio,  c,  the  same  size  as  the  book,  is  pasted  under 
zigzag  e,  and  the  endpapers  made  in  this  ,way  become  the 
first  and  last  sections.  Folio  b  is  the  colored  endpaper 
which  is  not  inserted  until  book  is  sewed. 

The  book  is  now  marked  up  as  in  the  Case  Binding  ex- 
cept that  there  are  only  two  punctures,  one  about  three- 
quarters  of  an  inch  from  the  head,  and  the  other  about  one 
and  one-quarter  inches  from  the  foot,  in  an  ordinary  size 
of  book. 

Sewing  on  Tapes. 

Sewing  on  tapes  requires  a  sewing  frame,  Fig.  21, 
which  is  prepared  for  sewing  by  tying  five  tapes  to  the 
horizontal  bar.  The  book  is  then  laid  on  the  floor  of  the 
frame  with  the  head  toward  the  right  and  the  back  to  the 
tapes.  The  head  tape  is  placed  one-fourth  of  an  inch  to 
the  left  of  the  head  puncture,  while  the  foot  tape  is  placed 
one-fourth  of  an  inch  to  the  right  of  the  foot  puncture. 
The  other  tapes  are  distributed  equally  along  the  distance 
between  those  at  the  head  and  foot.  All  the  tapes  are  fas- 
tened to  the  edge  of  the  frame  floor  with  thumb  tacks.  Of 
course,  that  is  only  one  simple  frame  out  of  a  great  variety 
which  may  be  made.  There  are  numerous  ways  of  im- 
provising sewing  frames.  Temporary  frames  are  often 
made  by  tacking  small  strips  to  the  ends  of  drawing  boards, 
and  fastening  a  cross  bar  to  them.  In  large  classes,  merely 
a  board  is  sometimes  used  as  in  olden  times,  when  stiff 
thongs  or  strips  of  vellum  were  used.  This  is  not  very  sat- 
isfactory. 

The  book  is  laid  to  the  left  as  in  the  previous  binding, 
and  the  sections  are  turned  in  the  same  way,  and  laid  upon 
the  frame.     The  end  section  is  laid  with  a.  Fig.  20,  on  the 


LIBRARY    BINDING 


25 


tioor  of  the  frame  and  the  needle  inserted  at  the  head  punc- 
ture of  the  fold  between  e  and  d  through  folio  c,  Fig.  20. 
Then  with  the  left  hand,  the  needle  is  drawn  in  and  run 
back  out  just  to  the  right  of  the  head  tape.  Then  the 
needle  is  run  into  the  section  immediately  to  the  left  of  the 
head  tape,  making  a  stitch  across  the  tape.  This  is  repeated 
at  each  tape  and  finally  the  needle  comes  out  at  the  foot 
[)uncture.  Xow  the  second  section  is  put  on,  the  needle  in- 
serted at  the  foot  puncture  and  the  sewing  continued  as  in 
the  first  section,  until  the  head  puncture  is  reached,  when 
the  thread  is  tied  with  a  double  knot  to  the  original  end. 
The  third  section  is  now  put  on  and  treated  exactly  like  the 
first  section  until  the  needle  comes  out  at  the  right  of  the 
head  tape,  when  a  crow's  foot  or  catch  stitch  is  made  in 
the  following  way  : — 

Crow's  Foot  or  Catch  Stitch. 

As  the  needle  comes  out  at  the  side  of  the  tape,  instead  of 
sewing  the  thread  straight  across  the  tape  as  before,  the 
needle  is  run  from  the  bottom  up  behind  the  two  previous 
threads  in  such  a  way  as  to  make  a  loop  knot  around  them, 
a  and  b.  Fig  21.  Then  the  needle  is  run  into  the  section 
on  the  opposite  side  of  the  tape  exactly  as  in  previous 
stitches.  This  is  repeated  at  every  tape  until  the  foot  punc- 
ture is  reached,  where  a  kettlestitch  is  made.  After  the 
third  section,  a  kettlestitch  is  made  every  time  the  needle 
comes  out  at  an  end  puncture,  and  a  crow's  foot  or  catch 
stitch  every  third  or  fourth  section. 

The  remainder  of  the  book  is  sewed  by  exact  repeti- 
tions of  the  processes  thus  far  described. 

When  the  sewing  is  completed,  the  tapes  are  cut,  leav- 
ing them  about  one  and  one-half  inches  long  at  each  side 


26 


BOOK  BINDING 


and  a  colored  folio,  b,  Fig.  20,  is  tipped  to  the  top  of  each 
zigzag  as  at  e,  and  the  book  is  then  ready  for  gluing, 
rounding  and  backing. 

Rounding^. 

Rounding,  as  the  name  implies,  is  the  process  of  giv- 
ing a  convex  shape  to  the  back  of  a  book  to  prevent  its  be- 
coming sunken  or  concave.  The  book  is  laid  upon  the 
table,  and  the  first  few  sections  are  pulled  firmly  forward, 
while  with  a  hammer,  the  upper  edge  of  the  back  is  struck 
lightly,  driving  the  upper  sections  forward.  Then  the  book 
is  turned  over  and  the  process  is  repeated  on  the  other  side. 

A  folded  sheet  of  waste  paper  is  tipped  (pasted  by  a 
A^ery  narrow  strip  of  paste)  along  the  sides  of  the  book  at 
the  back. 

I\ Larks  are  placed  about  one-eighth  of  an  inch  from  the 
back,  showing  the  places  for  the  edges  of  the  backing 
boards  between  which  the  book  is  put  and  all  clamped  into 
the  lying  press,  Fig.  22.  This  done,  the  back  is  thoroughly 
covered  with  thin  glue  which  is  rubbed  in  with  a  stiff  brush 
and  wiped  as  in  the  previous  book.  Within  fifteen  or 
twenty  minutes,  when  the  glue  has  dried  sufiiciently  to  be 
rubbery,  the  back  is  pounded  with  a  hammer,  striking  first 
along  the  center,  then  gradually  toward  the  end  sections, 
always  with  a  gliding  blow,  until  the  edges  have  ])een 
forced  over  the  tops  of  the  backing  boards,  as  a,  Fig.  22. 
If  this  has  been  properly  done,  the  back  will  be  smooth  and 
rounding,  and  the  edges  will  project  over  about  the  thick- 
ness of  the  boards. 

The  tapes  are  now  pasted  down  against  the  outside 
leaves  of  the  endpapers,  and  the  super  glued  on,  reaching 
from  puncture  to  puncture,  and  to  the  ends  of  the  tapes  on 


LIBRARY    BINDING  27 

each  side.  When  dry.  the  endpapers,  to  which  the  tapes 
were  pasted,  are  cut  off  around  the  edges  of  the  super, 
a.  Fig.  21^.  Material  is  now  gotten  ready  for  the  cover. 
Since  this  book  is  to  have  a  French  joint,  the  boards 
are  cut  as  much  narrower  than  the  book  as  will  make  the 
proper  width  of  joint;  and  since  it  is  to  have  double  boards, 
four  boards  are  cut,  two  thin  and  two  medium.  A  thin  board 
and  a  thicker  one  are  glued  together,  all  except  about  two 
inches  along  the  back  edge,  to  form  one  Ijoard.  The  boards, 
thus  glued,  are  put  into  the  press,  and  the  leather  cut,  which 
is  to  be  one  and  one-half  inches  longer  than  the  board  and 
wide  enough  to  reach  around  the  back  and  as  far  down  the 
sides  as  desired — the  general  rule  being  "more  than  a  fourth 
and  less  than  a  third."  This,  however,  is  a  statement  of 
the  most  general  kind,  and  proper  widths  for  the  leather 
are  determined  to  meet  specific  conditions. 

Skiving — Head  Cut— Coloring. 

With  a  sharp  skiving  or  head  knife,  5,  Plate  I,  the  edges 
of  the  leather  are  pared  thin,  and  also  a  strip  through  the 
middle  where  ,the  back  of  the  book  goes,  is  pared,  if  the 
leather  is  quite  thick.  For  this  operation,  the  leather 
should  be  laid  on  a  stone  or  slate. 

The  book  is  now  marked  with  pencil  and  trysquare 
where  the  head  is  to  be  cut,  and  is  placed  between 
two  pressing  boards  with  a  heavy  piece  of  cardboard, 
called  the  cut-again st,  between  the  back  pressing  board 
and  the  book.  In  this  condition,  the  book  is  now  put 
into  the  cutting  press,  Plate  II,  the  front  pressing  board 
being  pushed  down  on  a  level  with  the  mark  on  the 
book  and  with  the  top  of  the  press.  The  plow  is  run 
forward  and  backward,  the  blade  meanwhile  being  gradu- 


28 


BOOK  BINDING 


PLATE  II 


ally  screwed  toward  the  book,  cutting  only  a  very  few 
leaves  at  a  stroke.  With  this  easy  stroke  and  slow  advance 
of  the  blade,  if  the  blade  is  sharp,  the  head  is  left  smooth 
and  ready  for  coloring.  The  head  is  colored  with  India  ink 
and  when  dry,  is  rubbed  with  beeswax  and  burnished  with 
a  burnisher  made  for  that  purpose. 


French  Joint. 

Now  the  book  is  marked  for  the  French  joint,  that  is, 
for  the  location  of  the  back  edges  of  the  boards,  and  a 
strip   of  tough   paper  large  enough   to  cover  the  back   is 


glued  on. 


LIBRARY    BINDING  29 

Glue  is  put  into  the  open  places  left  between  the  layers 
of  the  double  boards;  then  the  slips — super,  tapes,  and 
pieces  of  endpapers  which  were  previously  pasted  to- 
gether— are  inserted  into  these  openings,  Fig.  23,  and  the 
book  put  into  press,  where  it  remains  until  thoroughly  dry. 

In  putting  on  the  boards,  great  care  is  necessary  to  in- 
sure a  straight  cover  and  perfect  squares. 

Half  Leather. 

It  is  now  time  to  put  on  the  leather,  which  is  laid,  flesh 
side  up,  on  waste  paper  and  thoroughly  covered  with  paste. 
The  waste  paper  is  removed  and  the  book  is  then  placed  in 
its  proper  position  on  the  leather  and  the  boards  opened 
down  against  it  with  sufficient  pressure  to  attach  the 
leather  to  them.  Then  the  ends  of  the  leather  are  turned 
under  the  back  of  the  book  and  over  the  boards,  enclos- 
ing a  cord  at  the  head  as  shown  at  a.  Fig.  24.  This  cord 
makes  a  roll  instead  of  a  headband.  This  done,  the  leather 
is  thoroughly  rubbed  with  the  hands  and  forced  closely 
down  into  the  joints.  Joint  sticks,  10,  Plate  I,  may  be 
used  for  this  purpose,  but  care  must  be  used  not  to  mar 
the  leather  with  them.  Now  the  book  is  placed  with  the 
foredge  in  the  lying  press,  and  a  cord  tied  around  it  length- 
wise through  the  joint  to  make  sure  than  the  leather  holds 
its  position  at  the  joint.  When  dry,  the  leather  is  trimmed, 
since  the  work  of  getting  it  onto  the  book  has  probably 
stretched  it,  or  the  paring  may  have  left  the  edges  uneven. 

Measurement  is  made  from  the  foredge  back  to  the 
points  where  it  is  desired  to  have  the  leather  extend.  With 
a  sharp  knife,  the  surplus  leather  is  cut  off.  The  book  is 
now  ready  for  the  cover  papers.  Marks  are  made  on  the 
leather  for  the  one-eighth  inch  lap  of  the  paper. 


30 


BOOK  BINDING 


Cover=Paper. 

The  cover  papers  for  the  sides  are  cut  one  and  one- 
half  inches  longer  than  the  boards  and  seven-eighths  of  an 
inch  wider  than  the  distance  from  the  leather  to  the  for- 
cdgQ  of  the  board.  This  allows  three-fourths  of  an  inch 
for  turn-in  and  one-eighth  of  an  inch  for  the  lap  over  of 
the  leather. 

Then  the  book  is  placed  on  the  paper,  b,  Fig.  24,  in  such 
manner  as  to  have  a  straight  edge  of  the  paper  come  just 
to  the  marks  on  the  leather  and  as  nearly  the  same  projec- 
tion at  the  ends  and  foredge  as  possible.  With  a  lead  pen- 
cil, a  line  is  drawn  on  the  paper  around  the  board.  Cor- 
ners for  the  mitres  are  cut,  always  cutting  not  closer  to  the 
pencil  mark  than  the  thickness  of  the  board,  as  explained 
in  the  previous  binding.  This  done,  the  paper  is  covered 
with  paste,  the  book  again  laid  on  in  position  indicated  by 
marks,  and  the  turn-ins  pasted. 

The  other  board  is  now  treated  in  the  same  manner. 
Great  care  is  necessary  to  make  sure  that  the  paper  fits 
firmly  against  the  edge  of  the  board.  The  bone  folder  is 
used  here  to  force  the  paper  against  the  edge  of  the  board 
before  the  turn-in  is  pasted  down  on  top. 

The  paper  at  the  corners  usually  does  not  make  a  per- 
fect mitre,  but  laps.  This  is  remedied  by  taking  a  sharp 
knife  and  cutting  through  the  lapping  papers  and  removing 
the  pieces  cut  off. 

The  book  is  now  put  under  light  pressure  until  dry. 
Nothing  remains  now  but  to  paste  the  colored  endpapers 
to  the  boards,  the  same  as  in  the  previous  binding.  It  will 
be  seen  on  opening  the  book  how  much  flexibility  the  zig- 
zag has  lent  to  the  cover. 


EXTRA   BINDING  31 

IV. 

EXTRA  BINDING. 

Three-quarters  Morocco. 

Sewed  on  cords ;    cords  laced  into  boards. 

Flexible  back. 

Edges  cut  in  boards,  head  colored. 

Rounded  and  backed. 

Zigzag  endpapers,  colored  pastedown. 

Head  and  foot  bands,  silk  thread  over  heavy  cords. 

Blind  or  gold  tooled  and  lettered. 


Cords. 

The  sewing  frame  is  prepared  exactly  in  the  same  way 
as  in  the  Library  Binding  except  that  cords  are  here  used 
instead  of  tapes,  Fig.  25.  Endpapers  are  cut  and  prepared 
zigzag,  book  marked  up  and  punctures  sawed  the  same  as 
in  the  Library  Binding. 

These  are  the  distinct  differences  between  sewing  on 
cords  and  on  tapes.  AMth  cords,  the  needle  goes  in  at  the 
head  puncture  and  out  on  the  left  of  the  cord  and  then 
doubles  back  and  from  the  right  of  the  cord,  the  needle  is 
inserted  at  the  same  hole  through  \vhich  it  came  out,  com- 
pletely encircling  the  cord  with  the  thread,  a,  Fig.  25.  This 
is  the  whole  story  of  sewing  on  cords.  In  the  use  of  tapes, 
the  thread  simply  goes  back  of  the  tapes,  not  around  them. 
The  kettlestitches  are  made  just  as  in  sewing  on  tapes,  but 
there  are  no  catch  or  crowfoot  stitches  as  with  tapes. 
When  the  book  is  taken  from  the  sewing  frame,  the  back 
is  rounded.  In  this  process,  judgment  must  be  used  not  to 
get  the  back  too  convex. 


BOOK  BINDING 


Seh/Jn^'  on  cords, 

a, stitch  around  the  cord. 


(^^Z  Qlacingcords 
into  boards 


Detail  of 
holes  and 
troush  for 
cordis. 


CO 

CP 
o 


S''^'-^ 

»D  \^ 

n 

r^^ 

c 

ri- 

- 

:^ 

rtt 

a 

P- 

EXTRA    BINDING  33 

The  book  is  now  put  into  the  backing  boards  in  the  press 
and  gkied  and  backed  as  described  in  deahng  with  the  Li- 
brary Binding. 

Lacing  Holes. 

Two  boards,  as  wide  as  the  book  and  one-fourth  of  an 
inch  longer,  are  cut  from  heavy  tar  or  miU  board.  The 
boards  are  placed  in  proper  position  closely  up  against  the 
joint  projection  of  the  back,  and  marks  perpendicular  to 
the  back  edges  of  the  boards,  are  made,  indicating  the  po- 
sitions of  the  cords.  At  each  mark  and  about  one-half  of 
an  inch  from  the  edge,  a  hole  almost  as  large  as  the  cords, 
is  made  with  an  awl  from  the  outside,  and  the  projections 
caused  by  the  awl  are  trimmed  off.  Then  about  one-half 
inch  from  these  holes,  another  row  of  somewhat  smaller 
holes  is  made.  These  holes  are  not  in  the  lines  drawn  from 
the  edges  of  the  boards,  as  is  shown  in  Figs.  26  and  27, 
and  are  punched  from  the  inside,  leaving  the  projections 
caused  by  the  awl. 

Then  a  kind  of  V  or  trough  is  cut  from  each  of  the 
first  series  of  holes  to  the  edge  of  the  board,  making  a  place 
for  the  cord  to  lie,  Fig.  2^]. 

Lacing 

Xow  the  cords  are  frayed  out  and  trimmed  thin  at  the 
ends,  and  with  paste,  the  frayed  portions  are  twisted  to 
points  and  inserted  down  through  the  first  holes  and  up 
through  the  others,  a.  Fig.  26.  A\'hen  the  cords  have  been 
drawn  tightly  and  a  small  amount  of  paste  put  around  the 
holes,  the  ends  are  again  frayed  out  and  spread  about  the 
holes,  and  with  a  hammer,  the  board  resting  firmly  on  a 
block,  the  protruding  parts  of  the  board  are  pounded  dowai 


34 


BOOK  BINDING 


about  the  cords.  After  this  has  been  done  to  all  the  cords 
on  both  sides,  the  book  is  left  to  dry. 

The  cutting  of  the  edges  in  boards,  is  a  process  requir- 
ing the  greatest  care.  A  mark  is  drawn  on  the  white  end- 
paper indicating  where  the  head  is  to  be  cut.  A  tin  and  a 
piece  of  heavy  cardboard  are  placed  between  the  book  and 
the  back  board.  These  make  a  cut-against  to  protect  the 
cover  from  the  knife.  The  front  board  is  now  drawn 
down  even  with  the  head  mark,  Fig.  28,  and  prepared  in 
this  way,  the  book  is  put  into  the  cutting  press. 

It  is  essential  to  good  work  that  the  book  be  absolutely 
true  in  the  press,  and  that  the  head  mark  and  the  top  of 
the  board  which  has  been  pulled  down,  be  on  a  level  with 
the  top  surface  of  the  jaw  of  the  press.  The  cutting  is  the 
same  as  described  under  Library  Binding,  page  27. 

The  book  is  now  removed,  the  covers  are  thrown  back, 
and  with  a  trysquare  against  the  head,  a  mark  is  draw^n  on 
the  endpaper,  showing  where  the  foredge  is  to  be  cut.  With 
the  covers  hanging  down  and  a  pressing  board  and  one  or 
two  thicknesses  of  cardboard  for  a  cut-against,  the  book  is 
put  into  the  press  and  the  foredge  cut.  The  foot  is  cut  ex- 
actly as  was  the  head. 

Head  and  Foot  Bands. 

It  is  now  time  to  make  the  head  and  foot  bands.  The 
book  is  fastened  in  a  lying  press  as  shown  in  Fig.  29,  with 
the  head  leaning  toward  the  workman.  A  needle,  into 
which  is  tied  one  end  of  a  long,  colored  silk  thread  is  run 
through  the  middle  of  the  first  section  down  to  the  head 
puncture  and  out  through  the  back,  the  thread  being  drawn 
half  its  length  through.     Then  a  strong  piece  of  cord,  con- 


KXTRA   BINDING 


35 


Cutting  on  t/ie 
head ba  nd 


r/g.^O'  Cutting  the. 
kaiher  cornerj. 


Folded  p  ap  erf  of 
allow  ha  cHco  ver. 


Parting  on  /e  a  the  r  corners 
and  CO  ver  papers. 

^•Turrr-'n  of  le cither. 

b>  Turn- In  mitre  of  lea  ther. 

c,andd,  Turn-ini  of  paper. 

ejape  tied  aroLnd  dooK- 

i  End  pasted  dof^n. 


36  BOOK  BINDING 

siderably  longer  than  the  width  of  the  back,  is  laid  on  the 
head  of  the  book  just  back  of  the  boards.  The  needle  end 
of  the  thread  is  brought  directly  forward  over  the  cord, 
while  the  other  end  is  crossed  over  the  needle  end  of  the 
thread,  under  the  cord,  and  forward  over  the  cord  the  same 
as  the  first  thread.  Then  changing  hands  again,  this  opera- 
tion is  repeated  twice  when  the  needle  is  run  down  into 
the  head  of  the  book  and  out  at  the  back  one-half  inch  or 
more  below  the  head  but  as  it  comes  back  over  the  cord, 
it  is  crossed  by  the  other  thread  exactly  as  at  first.  About 
every  fourth  crossing,  the  thread  should  be  sewed  into  the 
book. 

When  the  cord  is  covered  to  the  other  side  of  the 
book,  the  two  threads  are  knotted  firmly  beneath  the  cord. 
A  small  bit  of  paste  is  put  at  the  end  of  the  silk  on  each 
side,  and  the  cord  cut  off.  Then  a  tough  piece  of  paper 
reaching  from  the  top  cord  to  the  top  of  the  headband  is 
glued  on  to  hold  the  band  in  place. 

The  foot  band  is  made  in  exactly  the  same  manner. 

Then  a  strip  of  paper  as  wide  as  the  back  is  glued  on 
and   carefully  fitted  about  the  cords. 

Rubbing  Sticks — Band  Nippers. 

The  leather  back  is  put  on  as  in  the  Library  Binding, 
but  much  greater  care  and  patience  are  required  in  rubbing 
down  the  leather  about  the  cords  and  making  it  adhere 
strongly  to  the  book  at  all  points.  Rubbing  sticks,  7,  Plate 
I,  come  in  good  place  in  this  operation.  Band  nippers 
are  often  used  to  force  the  leather  against  the  cords.  The 
leather  is  moistened  slightly  at  the  head  and  foot  and  made 
to  lie  down  snugly  against  the  head  and  foot  bands.    After 


EXTRA   BINDING 


■37 


this,  the  leather  pieces  for  the  corners  are  cut  and  marked 
up,  leaving  a  three-quarter  inch  margin  on  the  two  equal 
sides  of  the  triangle,  Fig.  30.  A  general  rule  for  the  size 
of  corners  is  that  the  altitude  of  the  finished  corner  tri- 
ano-le  should  be  al)out  the  same  as  the  extension  of  the  back 
leather  over  the  side  of  the  book. 

Leather  Corners. 

The  corners  of  the  leather  pieces  are  cut  out  just  as 
the  corners  of  the  paper  in  the  previous  book.  Then  the 
edges  are  pared  thin.  The  leather  corners  are  covered  with 
paste,  one  at  a  time,  a  corner  of  the  cover  board  is  placed 
in  proper  position  on  the  leather  and  the  turn-ins  pasted, 
a  and  b,  Fig.  31.  This  done,  the  book  is  put  under  light 
pressure  for  a  time.  The  leather  is  now  all  trimmed  to 
proper  size  and  the  cover  paper  marked  and  cut  for  the 
sides.  The  one-eighth  inch  lap  is  marked  on  the  leather 
back,  and  the  book  laid  on  the  paper  as  in  previous  book. 
Then  with  a  sharp  pencil,  points  are  made  on  the  paper 
showing  where  it  must  be  cut  to  allow  not  more  than  one- 
eighth  inch  lap  on  the  leather  of  the  corners.  Fig.  31. 

The  corners  of  the  paper  are  cut  out,  the  paper  covered 
with  paste,  the  book  placed  in  proper  position  and  the 
turn-ins  pasted  as  at  c  and  d.  Care  must  again  be  exer- 
cised that  the  paper  comes  squarely  against  the  edges  of 
the  boards  and  fits  closely  around  the  edges  of  the  leather. 
For  such  processes,  the  bone  folder  is  almost  indispensable. 

The  next  step  is  the  lining  of  the  boards.  A  rectan- 
gular piece  of  heavy  paper  is  pasted  on  the  inside  of  each 
cover  and  fitted  snugly  against  the  edges  of  the  leather  and 
paper  turn-ins.     After  these  linings  are  dry,  the  end  papers 


38  BOOK  BINDING 

are  trimmed  and  pasted  down.  In  this  case,  great  care  and 
patience  are  necessary  to  make  the  endpapers  attach  them- 
selves to  the  back  edges  of  the  boards.  Of  course,  the 
outside  white  leaves  are  torn  off  and  the  colored  paste- 
downs  are  drawn  back  upon  the  boards  as  in  the  Library 
Binding,  and  with  a  bone  folder,  the  papers  are  forced 
against  the  back  edges  of  the  boards.  Then  the  book  is 
closed  and  immediately  opened.  If  in  closing,  the  end- 
paper is  pulled  loose  or  wrinkled,  it  is  again  put  into  proper 
order  and  the  book  again  closed. 

AMien  the  end  papers  hold  their  positions  perfectly,  the 
book  is  thoroughly  protected  with  paper,  tins  and  boards 
and  put  lightly  into  press. 

Then  the  head  Is  colored  with  India  Ink,  a  coat  of  bees- 
w^ax  put  on,  and  a  burnisher  used  to  give  it  a  polish.  It 
is  well  to  leave  the  completed  book  under  some  pressure  for 
several  days. 

If,  in  the  process,  some  paste  has  gotten  on  the  leather 
or  paper,  it  may  be  removed  by  the  use  of  a  damp  cloth, 
carefully  rubbed  over  the  soiled  places. 

Hollow  Back. 

In  case  a  hollow  back  is  desired  for  this  book,  deep 
punctures  are  sawed  at  every  cord,  and  the  cords  which 
are  smaller  than  in  the  flexible  binding,  are  sunken  into 
these  punctures.  Fig.  32.  The  sewing  in  such  a  binding 
is  very  simple,  the  thread  running  along  the  middle  of  the 
section  and  behind  the  cords,  with  kettlestitches  at  the 
head  and  foot,  the  same  as  in  the  flexible  sewing. 


EXTRA   BINDING  39 

Before  the  cover  goes  on,  a  heavy  paper  folded  as  in 
Fig.  33,  making  from  three  to  five  thicknesses,  is  glued 
by  the  bottom  layer  to  the  back. 

But  especially  in  elementary  work  where  very  little  gold 
tooling  and  lettering  are  undertaken,  the  hollow  back  is 
neither  necessary  nor  desirable.  At  all  events,  let  us 
avoid  the  false  cords  sometimes  seen  in  commercial  books. 


40  BOOK  BINDING 

V. 

REBIXDING. 

The  foregoing  work  has  assumed  that  the  books  were 
to  be  bound  from  the  original,  unfolded  sheets. 

In  case  of  rebinding  books,  the  following  preliminary 
steps  are  necessary  before  beginning  the  sewmg: — 

1.  Taking  off  old  cover.  This  is  done  simply  oy 
pulling  loose  the  end-papers  and  carefully  loosening  the 
super.  If  the  glue  or  paste  refuses  to  come  off,  it  is  cov- 
ered with  a  coat  of  fresh  paste,  and  after  a  short  time  may 
be  scraped  off. 

2.  Cutting  sections  apart.  The  leaves  are  counted  un- 
til the  thread  is  reached  which  indicates  the  middle  of  the 
section.  The  thread  is  clipped  and  the  same  numljer  of 
leaves,  disregarding  plates,  is  counted,  bringing  us  to  the 
end  of  the  section.  The  counting  is  necessary  because  of 
the  fact  that  in  many  books,  the  first  and  last  few  sections 
are  pasted,  or  tipped,  together,  making  it  difticult  to  tell 
where  one  stops  and  the  other  begins. 

3.  Beating  out  the  joint.  In  books  which  have  been 
rounded  and  backed,  the  first  and  last  few  sections  es- 
pecially have  a  decided  bend  near  the  backs  caused  by  the 
hammering.  This  is  removed  by  laying  the  sections  down 
on  a  solid  block  and  hammering  them  along  the  joints. 

4.  Mending,  cleaning  and  guarding.  Guards  are  strips 
of  tough  paper  about  one- fourth  of  an  inch  wide  which 
are  used  to  paste  together  the  leaves  of  a  folio  that  have 
been  torn  apart,  and  to  fasten  plates  into  the  Dook.  In 
case  of  the  torn  folio,  the  leaves  are  laid  side  by  side  in 


REBIXDIXG      ,  '^^ 

the  proper  position  and  a  guard,  covered  with  paste,  is 
placed  over  the  joint  where  the  leaves  come  together.  The 
leaves  are  then  folded  together  creasing  the  guard  in  the 
middle.  This  general  rule  as  to  the  placing  of  the  guards 
is  eiven  in  the  form  of  a  hull:— "If  it  is  to  be  guarded 

o  .... 

on  the  outside,  put  the  guard  on  the  inside;  but  if  it  is  to 
be  guarded  on  the  inside,  put  the  guard  on  the  outside." 
That  is,  if  it  is  the  outside  folio  of  the  section  to  be 
guarded,  put  the  guard  on  the  inside  of  the  folio,  so  that 
the  ragged  edges  of  the  tear  may  be  gathered  up  by  the 
glue  on  the  back  and  that  it  may  not  interfere  with  tlie 
sewing.  But  if  it  is  an  inside  folio  to  be  guarded,  put 
tlie  guard  or  the  outside  of  the  folio.  When  guarding  in 
a  plate,  a  folio  is  opened  out,  the  plate  placed  on  the 
proper  leaf,  and  the  guard  put  on  as  in  the  case  of  a  torn 
folio. 

5.     Cutting  new  end  papers. 

After  all  the  foregoing  steps,  the  book  is  ready  to  be 
pressed,  placing  the  sections  upon  each  other  and  inserting 
tins  and  boards  as  described  in  Case  Binding. 

AMien  it  comes  to  re-sewing  the  book  and  putting  on 
new  covers,  the  practice  is  to  use  any  method  or  any  com- 
bination of  methods  that  seems  to  be  demanded  by^  the 
conditions  and  size  of  the  book,  and  the  character  of  us- 
age which  it  will  probably  meet.  It  is  not  unusual  in 
commercial  binderies  to  sew  books  especially  large,  heavy 
books,  on  tapes  or  on  sunken  cords  without  regard  to  the 
style  of  cover.  This  is  done  especially  where  the  book  has 
large,  thick  sections  that  are  difficult  to  hold  in  place.  Thus 
it  is  seen  how  far,  under  some  conditions,  we  depart  from 
the  standard  types. 


42  BOOK  BINDING 

It  sometimes  happens  that  the  foHos  are  so  badly  torn 
at  the  folds  that  to  guard  them  would  make  the  back  un- 
usually thick.  In  such  cases,  the  overcasting  method  is 
used.  The  back  of  the  book  is  cut  if  it  is  in  very  bad 
condition,  and  then  instead  of  sewing  through  punctures 
over  cords  or  tapes,  several  of  the  leaves  are  taken  and 
placed  in  the  same  position  as  a  section,  and  sewed  through, 
whipping  over  and  over,  and  going  around  tapes  or  cords 
in  the  usual  manner.  It  frequently  happens  however,  that 
a  book  is  in  good  condition  with  the  exception  of  the  cover, 
in  which  case,  simply  a  new  cover  is  put  on.  This  neces- 
sitates re-gluing  of  the  back  and  putting  on  new  super  and 
end  papers.  Then  the  question  arises  how  to  fasten  in  the 
end  papers  so  that  they  may  be  strong.  One  method,  es- 
pecially in  the  case  of  heavy  books,  is  to  put  in  a  cloth 
joint.  This  is  a  folded  strip  of  cloth  about  one  inch  wide, 
at  each  end  of  the  book,  with  one  side  of  the  fold  pasted 
to  the  outside  leaf.  Then  when  the  cover  is  put  on,  the 
other  side  of  the  cloth  fold  is  pasted  to  the  board.  Fig.  34. 


Xxloth  Joint 


Fig.54.  ^'^■^^-    <iXloth Joints 

b'£ndsheet5 

A  folio  of  cover  paper  is  then  tipped  against  the  cloth  and 
the  outside  leaf  pasted  to  the  board ;  or  in  many  cases,  a 
separate  sheet  is  used  for  the  pastedown,  leaving  both 
leaves  of  the  end  folio  free. 


REBIXDIXG  43 

In  the  case  of  marbled  endpapers,  the  foHo  is  cut  o£ 
paper  to  match  the  book,  a  piece  of  super  or  canvass  is 
put  along  the  fold  like  a  guard,  then  the  single  sheet  of 
marbled  paper  is  pasted  entirely  over  the  first  page  of  the 
folio  which  is  then  tipped  in  to  the  cloth  of  the  joint. 
Where  a  book  is  to  be  resewed,  sometimes  single  end 
sheets  of  heavy  cover  stock,  together  with  the  cloth  for 
the  joint,  are  folded  around  the  backs  of  the  first  and  last 
sections  and  sewed  in  with  them,  Fig.  35.  Then  when  the 
boards  are  put  on,  the  cloth  is  drawn  back  over  the  edge 
as  before. 

Another  method  of  attempting  to  reinforce  and 
strengthen  the  first  and  last  parts  of  a  book  is  to  sew 
through  the  endpapers  that  are  to  remain  free  as  ''fly- 
leaves" and  the  leaves  of  the  first  half  of  the  first  and  last 
sections.  This  seems  of  somewhat  doubtful  value,  al- 
though it  may  be  of  some  service  in  the  case  of  a  thick, 
heavy  book. 

A  very  practical  and  easy  method  of  rebinding  moder- 
ately thin  books  which  have  torn  backs,  is  to  sew  them  in 
the  manner  described  for  a  fourth-grade  Language  Book, 
Fig.  40,  page  55,  and  put  on  a  new  case  binding.  In  sucli 
cases,  care  must  be  used  to  make  the  joint  wide  enough  to 
allow  the  boards  to  come  well  in  front  of  the  stitches : 
otherwise,  the  book  would  not  open  without  tearing  the 
cover. 

Plate  III  shows  a  number  of  library  books  rebound  in 
this  manner  by  seventh  grade  boys. 


44 


BOOK  BINDING 


o 
pq 

V 

•a 


M       O 


EQUIPMENT  45 

VI. 

EQUIPAIENT. 

Equipment  for  elementary  bookbinding,  as  already  in- 
dicated in  a  preceding  chapter,  can  be  made  almost  en- 
tirely to  lit  the  purse. 

The  statement  occurs  in  text  books  and  has  gone  the 
rounds  on  ''good  authority"  that  very  little  can  be  done  in 
the  way  of  bookbinding  without  a  large  and  unusually  ex- 
pensive equipment.  It  is  difficult  to  understand  how  such 
a  statement  could  be  made  by  anyone  who  is  familiar  with 
craft  binding  and  its  simplified  forms  as  they  may  be 
worked  out  in  the  lower  grades  of  our  schools. 

Of  course,  it  is  possible  to  spend  any  amount  for  book- 
binding equipment,  but  there  are  many  schools  where  good 
elementary  work  is  being  done  with  absolutely  no  equip- 
ment except  pocket  knives,  scissors  and  such  other  aids  as 
may  be  picked  up  about  any  school  building. 

It  is  entirely  possible  to  adjust  the  upper  grade  work  so 
that  only  a  few  will  be  handling  the  same  processes  at  the 
same  time,  thus  making  a  small  equipment  answer  the  pur- 
poses of  a  good  sized  class. 

For  making  the  typical  books  under  good  conditions 
with  a  moderate  number  of  pupils  in  the  eighth  grade  or 
high  school,  the  following  equipment  may  be  said  to  be 
■elaborate,  and  can  be  had  for  about  $75 : — 

I    lo-inch  Card  Cutter, 

6  Eying  Presses, 

1  Plow  and  Press, 

2  Letter  Presses, 


46 


BOOK  BINDING 


12  Sewing  Frames, 

2  Paring  Knives, 

3  Pairs   Backing   Boards, 

2  Back  Saws, 
6  Try  Squares, 

3  Hammers, 

3  Doz.   Pressing  Boards  and  Tins^ 

6  Awls, 

6  Paste  Brushes, 
12  Bone  Folders. 

Even  this  equipment  may  be  very  materially  reduced. 
Many  of  the  items  may  be  improvised,  made,  or  furnished 
by  the  pupils. 

For  instance,  the  sewing  frames  are  of  simple  con- 
struction and  offer  an  excellent  problem  for  the  class  in 
woodwork. 

The  plow  and  press  are  not  an  essential  even  in  high 
school  work.  Most  excellent  work  may  be  done  by  cut- 
ting both  paper  and  boards  with  a  sharp  knife  guided  by  a 
trysquare  or  straight  edge,  against  a  cutting  tin.  Any 
ordinary  hammer  will  do  for  backing  purposes.  So  this 
brings  us  back  to  the  repeated  proposition  that  much  and 
good  bookbinding  can  be  done  in  the  schools  with  almu5i 
no  equipment. 


SUGGESTIVE    COURSE  ^17 

VIL 

SUGGESTIVE  COURSE. 

In  the  previous  discussions  of  the  three  main  types  of 
books,  practically  every  process  used  in  elementary  hand- 
binding  has  been  described. 

The  following"  outline  is  the  result  of  several  years  of 
effort  on  the  part  of  the  author,  to  develop  a  series  of 
problems  involving  the  bookbinding  processes,  meeting 
some  of  the  constructive  needs  of  the  various  grades  of 
the  school,  and  relating  in  some  vital  way  to  the  regular 
school  interests. 

It  was  thought  that  confusion  would  be  avoided  by  indi- 
cating the  methods  and  processes  of  a  set  of  specific  prob- 
lems. It  is  understood  that  these  problems  are  only  typical 
and  that  from  these,  a  great  variety  of  books  may  be 
worked  out  in  response  to  special  needs.  In  the  practical 
work  of  the  class,  these  problems  are  not  dictated  step  by 
step  and  in  detail,  to  the  pupils ;  but  as  far  as  possible  each 
pupil  plans  for  himself,  size,  number  of  pages,  proportions, 
color  combinations,  decoration,  etc.  A  very  large  part  of 
the  value  derived  from  such  work,  comes  from  the  neces- 
sity of  thinking  and  planning  in  advance,  and  from  the 
privilege  and  exercise  of  choice. 

Let  us  assume  that  we  are  taking  the  problem  of  the 
fourth  grade  spelling  book,  page  53,  Fig.  38.  The  first 
thing  necessary  is  the  spelling  paper  as  a  basis  for  our 
plans. 

Each  child  is  given  a  sheet  of  paper,  say  3^x8  inches. 
The  class  is  questioned  to  bring  out  the  general  character- 
istics of  the  cover  needed,  such  as  the  direction  of  open- 
ing, the  necessity  for  a  hinge  in  the  top  cover,  etc. 


48  BOOK  BINDING 

Then  the  matter  of  the  squares  or  the  extension  of  the 
boards  is  taken  up  and  the  pupils  express  opinions  as  to 
the  amount  of  the  extension.  After  reasons  are  given 
for  various  opinions,  the  pupils  calculate  and  write  on  the 
sheets  of  paper  the  sizes  the  boards  are  to  be  cut. 

Then  comes  the  question  of  the  distance  the  hinge  is  to 
be  from  the  back.  One  pupil  may  answer  three  inches  and 
another  one-half  an  inch.  Reasons  are  brought  out  why 
neither  is  satisfactory  and  also  why  it  may  vary,  say,  from 
three-fourths  of  an  inch  to  one  and  one-half  inches,  and 
each  child  writes  on  his  paper  the  distance  he  prefers.  The 
same  plan  is  used  with  reference  to  the  width  of  the  hinge; 
and  since  this  may  vary  greatly,  even  from  one-fourth  to 
two  inches,  guided  always  by  the  ideas  of  good  proportion 
and  fulfillment  of  purposes,  the  pupils  are  asked  to  write 
down  their  preferences. 

Then  is  taken  up  the  question  of  the  proportion  of 
cloth  to  paper  on  the  covers.  In  the  first  place,  it  is  ap- 
parent that  constructive  considerations  demand  that  the 
cloth  must  reach  from  the  back  some  distance  beyond  the 
hinge  toward  the  foredge,  but  how  far  beyond  is  a  ques- 
tion of  good  proportion.  It  is  always  found  that  children 
vary  but  little  in  their  judgments  of  proportion  in  this 
matter.  The  author  has  made  this  proposition  to  scores  of 
children : — "Let's  have  the  cloth  and  the  cover  paper  meet 
at  the  middle  of  the  cover,"  and  in  the  whole  number  of 
children,  there  has  never  been  one  who  would  agree  to  any 
such  an  arrangement.  When  the  matter  of  the  cloth  has 
been  determined,  the  pupils  calculate  the  sizes  the  pieces  of 
cloth  and  paper  must  be  cut,  allowing  the  proper  turn-ins. 
These  dimensions  are  written  down  with  the  other  decided 


SUGGESTIVE    COURSE 


49 


points.  From  this  information,  the  pupils  make  simple 
drawings.  From  samples  of  various  colors  of  cloth,  paper, 
and  cords,  the  pupils  select  satisfactory  combinations.  In 
this,  as  in  all  other  matters,  if  pupils  make  wrong  selections 
or  show  poor  judgment,  it  is  the  opportunity  of  the  teacher 
to  suggest  and  to  convince  them  of  the  wisdom  of  some 
other  choice. 


£3. 


f/s.ie. 


'"'S-il  • 


The  material  is  next  marked  out  and  cut.  Of  course, 
this  is  done  by  each  pupil  from  the  information  he  has 
written  on  his  sheet  of  paper. 

The  actual  pasting  of  the  boards  into  the  cloth  and  pa- 
per requires  but  few  suggestions  or  directions  if  the  pupils 
have  gone  through  the  work  of  the  previous  grades.  If 
they  have  not,  then  they  are  asked  to  place  the  board  upon 
the  cloth  in  the  proper  position,  mark  around  it,  and  clip 
out  corners  as  at  a,  Fig.  36.  AVhen  the  cloth  is  pasted  on, 
the  same  process  is  used  with  the  paper  allowing  it  to  lap 
one-eighth  to  one-fourth  of  an  inch  on  the  cloth,  b.  AMien 
the  covers  are  completed  and  pressed,  the  punctures  are 
made  and  the  cord  tied  in. 


50 


BOOK  BINDING 


- «     itm    *•*  # 


»  #  »** 


•^Sljy 


SUGGESTIVE   COURSE  &1 

FIRST  GRADE^ 

1.  Home  Book. 

This  is  made  to  contain  the  freehand  cuttings  of  the 
house  and  its  furnishings,  the  family,  the  barn,  the  chicken 
liouse,  all  the  animals,  machinery,  etc.,  about  the  home.  It 
is  made  up  of  sheets  of  manila  paper  with  colored  sheets 
of  the  same  size  for  covers.  These  are  all  tied  together 
with  a  heavy  cord  through  two  holes  punched  at  one  end. 
3,  Plate  IV. 

2.  Xature  or  Sketch  Book. 

Made  of  the  same  material  as  the  Home  Book  except 
that  only  one  colored  sheet  is  needed.  But  the  sheets  are 
all  folded  in  the  middle  and  three  or  four  punctures  are 
made  with  a  darning  needle  or  a  punch  along  the  fold.  A 
cord  threaded  into  a  large  needle  is  run  into  the  top  punc- 
ture and  out  at  the  bottom  puncture ;  then  back  into  the 
second  puncture  from  the  bottom  around  the  thread  and 
out  at  the  same  puncture.  This  is  repeated  at  each  punc- 
ture until  the  top  one  is  reached,  where  the  ends  of  the  cord 
are  tied  together,  2,  Plate  IV.  The  book  may  be  made  by 
finding  the  middle  of  the  paper,  punching  the  holes  and 
tying  the  cord  before  the  folding  is  done. 

3.  Portfolio. 

This  is  made  of  two  sheets  of  paper,  one  of  which  is 
one-half  inch  narrower  and  one  inch  shorter  than  the  other. 
The  small  one  is  placed  upon  the  large  one  in  such  a  way 
as  to  leave  a  half  inch  strip  around  three  sides.  The  two 
corners  of  the  large  sheet  are  cut  out  and  the  edges  pasted 
and  folded  over  upon  the  small  sheet. 


52  BOOK   BINDING 

SECOND  GRADE. 

1.  Portfolio. 

Made  of  one  piece  of  tough  paper  by  simply  cutting 
rectangles  from  the  lower  corners  of  the  sheet,  as  shown  in 
Fig.  37  A,  and  folding  the  rectangles  a,  b,  c  on  dotted  lines. 
The  two  smaller  rectangles  are  pasted  to  the  larger  one,  c. 

2.  Scrap  Book. 

Made  of  single  leaves  with  a  two-inch  fold  at  one  end. 
Covered  with  a  folio  of  Bristol,  reinforced  at  the  back  with 
strip  of  book  cloth,  and  tied  through  five  punctures  with 
heavy  cord.    Fig.  37.    See  6,  Plave  IV. 

3.  Nature  Book. 

Cover  same  as  Scrap  Book  with  the  addition  of  pieces 
of  cover  paper  pasted  on  the  covers,  reaching  from  the  cloth 
to  the  foredge.  Book  made  of  folios  sewed  like  2,  grade 
one.     Pasted  into  cover. 

4.  Spelling  Book  Cover. 

Made  of  light  boards  which  are  covered  with  cover  pa- 
per. Pieces  of  cover  paper  are  pasted  on  the  inside  as  end 
papers,  and  are  decorated  by  the  children.  The  two  sides 
of  the  cover  are  fastened  together  by  inserting  rings  or 
cords  in  holes  punched  at  the  end.     5,  Plate  IV. 

5.  Language,  Poem  or  Arithmetic  Book. 

Single  leaves  covered  with  folio  of  crash  or  burlap,  tied 
with  cord  through  three  punctures,  cover  lined  with  one 
piece  of  cover  paper,  and  edges  and  design  of  cover  worked 
with  coarse  thread.     4,  Plate  IV. 


r,g.  37  A 


SUGGESTIVE  COURSE 

THIRD  GRADE. 


53 


a  I  I 

'  I 

I  I 

I  I 

I 
c 


I.     spelling  Book. 

Single  leaves  with  separate 
boards,  covered  with  book  cloth 
pasted  all  over.  The  top  board  is 
cut  into  two  parts. leaving-  a  flexible 
hinge  near  the  back.  Boards  lined 
with  cover  paper.  Tied  through 
two,  three  or  four  punctures  by 
Japanese  method,  Fig.  38. 


F/g.33 


54  BOOK   BINDING 

2.  Literature  Illustration  Book  Cover. 

Half  cloth.  Narrow  boards,  leaving  wide  limp  back  of 
book  cloth.  Back  reinforced  with  super  and  boards  lined 
with  cover  paper.  Two  or  three  holes  are  punched  from 
side  to  side,  and  tied  with  heavy  cord  or  fastened  with 
rings.     Fig.  39. 

3.  Portfolio. 

]^Iade  of  one  long,  narrow  piece  of  cover  paper  or  Ma- 
nila board.  The  bottom  third  is  folded  up  to  form  the  body 
of  the  portfolio,  and  the  top  third  is  folded  down  for  the 
llap  or  cover.  Two  strips  of  cloth  are  folded  and  pasted  to 
the  ends  of  the  portfolio  to  hold  the  front  and  back  to- 
gether. 

4.  Nature  Book. 

One  section  sewed  with  five  punctures,  same  as  num- 
ber 2,  grade  one,  covered  with  heavy  marbled  boards,  with 
buckram  back,  super  put  on,  and  first  and  last  leaves  used 
as  paste  downs. 

5.  Poem  Book  Cover. 

Made  of  two  boards.  Joint  made  in  top  board  as  in 
Spelling  Book.  Boards  are  covered  with  crash  and  lined 
inside  with  cover  paper.  Tied  with  heavy  cord  through 
four  punctures. 

6.  Japanese  Book. 

The  book  part  is  made  by  folding  a  long  piece  of  paper 
first  one  way  and  then  the  other  until  it  is  all  folded  accord- 
ion fashion.  Boards  are  covered  with  cover  paper  and 
pasted  to  the  first  and  last  pages. 


SUGGKSTIVli  course: 


00 


FOURTH  GRADE. 

1.  Portfolio. 

Made  of  heavy  cover  paper,  with  some  method  devised 
by  the  class  for  increasing  and  decreasing  the  thickness  of 
the  portf  oho. 

2.  Chpping  Envelope. 

Made  of  one  piece  of  heavy  cover  paper  or  light  Manila 
board.  Rectangles  a  little  longer  than  half  the  body  of  the 
envelope,  are  folded  over  and  pasted.  The  small  flap  at  the 
bottom  is  folded  up  and  pasted.     See  Fig  39  A. 


\ 


/ 


F/$-39A 


3.  Spelling  Book. 

Same  as  that  of  third  grade  except  with  half  instead  of 
full  cloth  covers.     See  Fig.  38. 

4.  Language,  Geography  or  History  Notebook. 

More  than  one  section.  Sheets  folded  and  cut.  Sec- 
tions arranged  in  book  form,  and  a  colored  folio  tipped  in 
to  the  second  endpaper  on  each  side.  Tlie  book  is  marked 
up  for  a  sawed  puncture  one-half  inch  from  each  end,  and 
for  stabs  immediately  under  the  sawed  punctures  and  every 
half  inch  along  the  side  and  about  one-fourth  of  an  inch 
from  the  back,  a.  Fig.  40.  The  stabs  are  made  with  a 
sharp  punch  or  awl. 

A  needle  is  put  on  each  end  of  a  long  linen  thread. 
Then  with  the  thread  lying  in  the  head  puncture,  a  needle 
is  inserted  from  each  side  into  the  head  stab  and  the  thread 


\ 


56 


BOOK    BINDING 


drawn  through.  The  needles  are  then  run  into  the  next 
stah  and  then  into  the  next,  until  the  foot  puncture  is 
reached.  Here  the  threads  are  brought  up  and  tied  so  that 
tlie  knot  sinks  into  the  sawed  puncture. 

A  piece  of  super  is  now  thoroughly  pasted  upon  the 
back  and   about  one  and  one-half   inches   down   the   end- 


FJ^AO 


SUGGESTIVE  COURSE 


OV 


papers.  These  outside  leaves  of  the  endpapers  are  cut  off 
at  the  front  edge  of  the  super  and  a  piece  of  the  cover  paper 
as  long  as  the  book  and  as  wide  as  the  super  is  glued  on,  1), 
care  being  taken  to  have  it  fit  flat  across  the  l^ack  with  sharp 
turns  at  the  edges. 

The  boards  having  been  covered  separately,  except  lin- 
ing, are  now  pasted  on  about  three-eighths  of  an  inch  from 
the  back  or  one-eighth  of  an  inch  in  front  of  the  stitches. 
The  book  is  now  put  lightly  into  press.  When  dry,  the 
colored  endpapers  are  pasted  to  the  covers  and  the  book 
again  put  into  press. 


Fig.  41 


FIFTH  GRADE. 

T.     Nature  Book. 

One  section.  Large  sheet  folded  and  cut  or  torn  to 
proper  size.  vSewed  through  five  punctures.  Bound  in  full 
or  half  cloth.  Case  binding.  Super  put  on  and  first  and 
last  leaves  pasted  to  covers  by  closing  the  cover  on  the 
paste-covered  endpapers.     Fig.  41. 


58 


BOOK   BINDING 


2.     Spelling  Pad. 

Made  like  the  top  cover  of  the  spelling  book  shown  at 
Fig.  38,  except  that  it  has  cloth  corners,  which  are  put  on 
the  same  as  the  leather  corners  of  the  Extra  Binding,  Fig. 
31.  Four  punctures  are  made  and  the  narrow  part  is  turned 
over  and  tied  as  at  Fig.  42. 


3- 


Fig.  4^ 

Soft  Leather  Cover. 


c 

a e 

«.  A 

h £ 

-L 


^''§-  4Z  A 


This  makes  a  nice  gift  for  Christmas.  The  cover  is  re- 
moved from  a  small  book,  a  folio  of  cover  paper  is  tipped 
to  each  side  for  end  papers,  and  the  book  is  pasted  into  a 
cover  of  velvet  sheep  skin. 

4.     Re-cover. 

Some  library  book  or  book  of  the  pupil's. 

New  super  put  on,  new  endpapers  tipped  in,  and  a  nev/- 
half  cloth  case  binding  made  and  laid  on.  Boards  as  wide 
as  the  book  and  three-eighths  of  an  inch  longer.  Cloth  as 
wide  as  desired  and  one  and  one-half  inches  longer  than  the 
boards.  Cover  paper  as  long  as  the  cloth  and  seven-eighths 
of  an  inch  wider  than  the  distance  from  the  back  cloth  to 
the  foredge  of  the  board.  Cloth  is  folded  lengthwise  and 
creased  only  at  the  ends,  as  at  a  and  b,  Fig.  42  A.  A  line 
c  d  is  drawn  J4  from  one  end.    Lines  h  f  and  g  e  are  drawn. 


SUGGESTIVE  COURSE  59 

The  distance  of  these  Hues  from  a  and  b  is  half  the  thick- 
ness of  the  book,  pkts  one  joint.  The  boards  are  pasted  into 
the  angles  d  h  f  and  c  g  e,  and  the  cover  is  put  lightly  into 
press.  The  cover  paper  is  marked  up  and  pasted  on  exactly 
as  described  in  Library  Bindnig,  page  30. 

5.  Post  Card  Book. 

Loose  leaves  of  cover  paper  /"xii".  Cover  made  ex- 
actly like  the  fourth  grade  spelling  book  at  Fig.  38,  except 
that  it  must  be  much  larger  in  order  to  accommodate  the 
larger  leaves. 

Various  devices  may  be  used  to  hold  the  cards,  but  the 
best  method  perhaps,  is  to  cut  slits  for  the  corners. 

6.  Rebind  Straight  Back  Book. 

a.  Old  cover  torn  off. 

b.  Sections  cut  apart. 

c.  ]\Iended  and  guarded. 

d.  Endpapers  cut. 

e.  Sewed  all  along  with  five  punctures.     Consult 

Case  Binding,  Fig.  14. 

f.  Back  glued. 

g.  Half  cloth  case  binding  made  and  put  on. 

7.  ^lagazine  Cover. 

Case  binding  in  full  cloth.  Inside  of  back  lined  with  a 
strip  of  book  cloth.  A  one  inch  piece  of  cloth  or  leather 
runs  lengthwise  inside  of  each  board  to  hold  the  leaves  of 
the  magazine.  These  strips  are  fastened  by  turning  the  ends 
and  pasting  them  under  the  end  papers,  similar  to  that 
shown  in  photograph.  Fig.  52. 

8.  Art  Book. 

Several  sections  sewed  all  along.  Heavy  gray  paper  for 
mounting  drawings  and  pictures.     Original  work  on  cover, 


60  BOOK   BINDING 

using  combinations  and  moditications  of  previous  problems. 
x-\fter  the  book  is  bound,  a  sufficient  number  of  leaves  may 
be  cut  out  along-  through  the  book  to  prevent  too  great 
thickness  at  the  back. 

SIXTH  GRADE. 

1.  Portfolio. 

Simply  a  case  binding  in  half  or  full  cloth,  with  a  cloth 
pocket  inside  of  each  cover.  Each  pocket  is  made  by  taking 
a  piece  of  cloth  one  inch  wider  and  two  inches  longer  than 
the  board,  and  folding  the  edges  of  one  side  and  the  two 
ends  and  pasting-  to  the  board.  Then  the  cover  is  finished 
according  to  the  method  of  making  a  case  binding. 

2.  Memorandum  Book. 

One  section  with  a  small  folio  of  Manila  board  outside. 
Cover  is  made  of  one  piece  of  buffing',  which  is  cut  -Vf" 
longer  and  wider  than  the  finished  cover.  A  piece  of  tough 
paper  exactly  the  size  of  the  finished  cover,  is  pasted  on  the 
inside  of  the  buffing,  leaving  about  a  three-eighths  inch  mar- 
gin all  round.  A  piece  of  Manila  board  as  wide  as  the 
paper,  is  laid  on  the  paper  at  each  end.  These  boards 
should  be  short  enough  to  leave  a  three-quarter  inch  space 
at  the  middle  of  the  leather  for  the  back. 

The  projecting  edges  of  the  leather  are  now  turned  over 
and  pasted  to  the  ]\Ianila  board.  End  papers  as  long  as  the 
Manila  boards  and  one-fourth  inch  narrower,  are  now 
pasted  on.  After  the  cover  has  dried  in  press,  the  ends  of 
the  outside  folio  of  the  book  are  inserted  under  the  un- 
pasted  ends  of  the  Manila  boards  of  the  cover. 

3.  Binding  from  Original  Printed  Sheets. 

Small  book  like  "Printing  and  Bookbinding,"  ''He  Knew 
Lincoln,"  ''Man  Without  a  Country,"  or  "The  Other  Wise 


SUGGESTIVE  COURSE  ^^ 

Man."     Arrangements  can  be  made  with  publishers  to  fur- 
nish unfolded  printed  sheets  at  reasonaljle  prices. 

Sheets  are  folded  and  pressed — not  cut. 

Sewed  all  along  with  five  punctures. 

Typical  case  binding. 

Full  cloth. 

Edges  untrimmed. 

4.     Rebind  Sets  of  Books. 

Case  bindings  in  full  cloth,  each  pupil  making  a  number 
of  covers  at  one  time. 

\Miere  several  books  are  to  be  uniformly  bound,  a  spacer 
is  used  to  locate  the  positions  of  the  boards  on  the  cloth, 
instead  of  repeating  the  measurements  on  each  cover.     The 


spacer,  Fig.  43,  may  be  made  of  press  board,  tin,  celluloid, 
or  other  material.  By  placing  the  spacer  at  the  middle  of 
the  cloth  at  the  head,  the  angles  are  located  for  the  corners 
of  the  boards. 

5.     Envelope  File. 

A  number  of  envelopes  are  made  according  to  the  plan 
indicated  by  Fig.  39  A,  page  55.     With  two  pieces  of  cloth 


62 


BOOK   BINDING 


folded  back  and  forth,  the  ends  of  the  envelopes  are  bound 
together  as  shown  in  Fig.  44. 

A  case  binding  in  half  cloth  is  made  similar  to  the  Lit- 
erature Illustration  Book,  Fig,  39,  making  plenty  of  allow- 
ance at  the  back  for  the  thickness  of  the  envelopes.  When 
the  cover  is  completed,  the  bottom  envelope  is  pasted  firmly 
to  one  of  the  boards,  as  shown  at  Fig.  45. 


/^^'g.  4  4 


Enve/opeFile 


Fig.  45 

6.     Desk  Pad. 

Made  of  one  piece  of  heavy  cloth  board.  A  piece  of 
cover  paper  one  and  one-half  inches  longer  and  wider  than 
the  board,  is  pasted  to  one  side  and  the  edges  turned  over. 
Thin  leather  corners  or  end  strips  are  now  put  on  as  indi- 
cated at  Fig.  46,  with  only  the  turnovers  pasted.  Then  the 
under  side  of  the  board  is  covered  with  a  piece  of  cover 


SUGGESTIVE  COURSE 


63 


paper  about  one-half  inch  shorter  and  narrower  than  the 

board. 

The  leather  may  be  decorated  by  tooling,  cutting,  or 

coloring. 

7.     Note  Book  Cover. 

Stiff  boards  with  cloth  back  and  corners,  and  paper 
sides.  Corners  are  put  on  the  same  as  the  leather  corners  in 
the  Extra  Binding,  Fig.  31. 

Two  strips  of  board  are  cut  three-quarters  of  an  inch 
wide,  and  one  inch  shorter  than  the  cover.  A  piece  of  cloth 
is  cut  as  long  as  the  strips  of  board  and  four  inches  wider 
than  the  back  of  the  cover.  One  of  these  strips  of  board  is 
now  pasted  one-half  inch  from  each  long  edge  of  the  cloth. 
The  other  sides  of  the  strips  of  board  are  covered  with 
paste  and  the  cloth  is  folded  over  upon  them. 

Fig.  47  shows  the  end  of  this  part  which  is  pasted  in- 
side of  the  back  of  the  cover,  the  one-half  inch  projections 
of  the  cloth  being  attached  firmly  to  the  boards.  End  pa- 
pers are  put  in  and  holes  for  the  cord  are  now  punched 
through  these  three-quarter  inch  strips,  and  the  leaves  are 
tied  in  place.     Finished  cover  shown  at  Fig.  48. 


FitA^ 


64 


BOOK   BINDING 


SEVENTH  GRADE. 

I.     Decorative  Binding". 

Blank  book  or  magazines  sewed  on  colored  tapes,  rib- 
bons or  strips  of  leather  with  coarse  silk  thread  in  decora- 
tive stitches,  Fig.  49. 

Boards  are  bound  separately  in  fancy  cover  papers. 

Tapes  are  laced  through  the  boards  and  tied  at  foredge. 
Colored  endpapers  pasted  to  covers. 

Tapes  and  stitches  left  exposed  at  back. 


Fig-.  49 


2.     Portfolio. 

Three  rectangular  pieces  of  tar  or  cloth  board  are  cut, 
two  larger  ones  for  the  body  of  the  portfolio  and  one  smaller 
one  for  the  lid  or  flap.  The  large  pieces  are  lined  with 
paper  on  the  sides  which  are  to  go  inside.     This  prevents 


SUGGESTIVE  COURSE 


65 


warping  when  the  outside  covering  is  put  on.  A  strip  of 
book  cloth  or  buckram  is  cut  aljout  two  inches  wide  and 
long  enough  to  reach  around  one  side  and  the  two  ends  of 
the  body  of  the  portfolio.  This  strip  is  folded  lengthwise 
in  the  middle  with  the  wrong  side  out.  Then  each  half  is 
folded  lengthwise  in  the  middle,  turning  the  wrong  side  in. 
Thus  folded,  the  strip  is  pasted  around  the  ends  and 
bottom  edges  of  the  two  large  boards,  mitering  all  the  cor- 
ners.    Fig.  50.     Then  the  flap  is  attached  by  means  of  two 


Fig-  50 

Showing-  only  the  cloth  on  the  edges. 

strips  of  cloth,  one  above  and  one  below,  and  the  edges  are 
bound  to  correspond  with  the  body.  Then  cover  paper  is 
pasted  on  all  the  uncovered  surfaces  of  the  boards,  lapping 
one-eighth  of  an  inch  over  the  edges  of  the  cloth  wherever 
the  paper  and  cloth  come  together.  Scores  of  modifications 
may  be  made  of  this  style  of  portfolio. 

3.     Limp  Leather  Binding. 

Pupil's  blank  or  printed  book. 

Sew^ed  all  along  or  on  tapes.  Colored  endpapers  sewed 
in.  Bound  in  one  piece  of  sheep  or  calf.  Cover  is  used  for 
dyeing  and  tooling  in  decoration.  Book  put  into  cover  by 
pasting  book  and  fitting  leather  closely  about  it  and  then 
pressing. 


66  BOOK   BINDING 

EIGHTH  GRADE. 

I.     Book  for  Mounting  Drawings  and  Pictures. 

Heavy  cover  paper  is  used  for  this  book  and  is  cut  into 
large  folios.  Then  strips  of  the  same  paper  al3out  one  and 
one-half  inches  wide  and  as  long  as  the  book  is  high,  are 
folded  lengthwise  in  the  middle.    One  of  these  folded  strips 


Fig.  51 

is  fitted  over  the  back  and  one  inside  of  each  folio,  Eig.  51, 
except  the  first  and  last.  This  provides  for  the  pasting  of 
a  mount  on  each  page  of  the  book  without  making  the  body 
of  the  book  thicker  than  the  back.  Sewed  on  tapes.  Cover 
treated  exactly  as  that  of  the  Library  Binding,  page  27. 

It  is  much  easier  to  handle  this  problem  by  making  the 
book  of  regular  sections  instead  of  using  the  one  and  one- 
half  inch  strips,  and  then  cutting  out  every  3rd  or  4th  leaf 
after  it  is  completed.  These  leaves  are  not  wasted.  They 
may  be  used  for  smaller  books. 

2.     Typical  Library  Binding.     See  page  22. 

Half  leather. 

Sewed  on  tapes. 

Double  boards. 

Erench  joint. 

Backed  and  rounded. 

Head  cut  and  colored. 

Cord  inserted  instead  of  headband. 


SUGGESTIVE  COURSE 


67 


3.     Portfolio. 

Bound  in  leatlier  and  paper  or  cloth.  Three  boards  are 
cut  the  same  size.  The  joints  between  the  boards  are 
treated  exactly  like  the  back  of  a  case  binding,  except  that 
leather  is  used  and  that  the  inside  of  the  joints  are  also 
lined  up  with  leather.  Small  boards  for  the  flaps  are 
joined  in  the  same  manner  to  the  ends  of  the  middle  1)oard, 
Fig.  ^2  shows  the  portfolio  with  only  the  leather  pasted 
on.  The  cover  paper  or  cloth  is  cut  and  pasted  exactly  like 
that  of  the  Library  or  Extra  Binding. 


''^^^1%' 


68 


BOOK   BINDING 


List  of  Bookbinders  Terms. 


Back. — The  back  of  a  book  is  the  part  where  the  leaves  are 
fastened  together,  and  does  not  include  the  sides  of 
the  cover. 

Backing. — The  process  of  hammering  the  back  in  order  to 
drive  the  extra  thickness  due  to  sewing,  over  the  edge 
of  backing  boards  making  the  joint.    Fig.  22. 

Backing  Boards. — Steel  faced  boards  between  which  the 
book  is  placed  while  backing,     b,  Fig.  22. 

Band,  or  Rubbing  Sticks. — Sticks  used  in  rubbing  the 
leather  down  over  the  cords,  or  bands,  in  the  Extra 
Binding.     7,  Plate  I. 

Beating  out  Joint. — Hammering  the  back  of  the  section 
of  an  old  book  in  order  to  straighten  out  the  part 
turned  over  in  the  process  of  backing  when  first  bound. 

Blind  Tooling. — Putting  a  design  upon  the  leather  with 

hot  tools  without  using  gold  leaf. 
Boards. — The  stiff  sides  of  the  cover. 
Bone  Folder. — A  bone  tool  for  folding  paper  and  cloth. 

No.  3,  Plate  I. 
Buffing. — Thin  cowhide  used  in  binding. 
Case  Binding,  or  Casing. — \\'here  the  book  and  the  cover 

are  made  separately  and  then  pasted  together.     Pages 

II  and  14. 


BOOKBINDERS  TERMS  69 

Collating. — Gathering  together  the  sections  of  a  book  in 
the  proper  order. 

Cover  Paper. — Heavy  paper  used  on  the  covers  of  books. 

Crowfoot  Stitch. — The  stitch  used  at  the  tapes  in  Li- 
brary Binding,    a  and  b,  Fig.  21. 

Double  Boards. — Two  boards  glued  together  to  make  one 
side  of  the  cover  in  Library  Binding.     Fig.  23. 

End  Papers. — The  blank  leaves  at  the  first  and  last  of  the 
book. 

Extra  Binding. — Book  sewed  on  cords  and  bound  in  full 
or  three-quarters  leather.     Page  31. 

Finishing. — The  part  of  bookbinding  that  has  to  do  with 
the  decoration,  tooling,  lettering,  etc.     Page  9. 

Finishing,  or  Lying  Press. — A  press  for  holding  the  book 
while  the  ''finishing"  is  in  progress.     No.  i,  Plate  L 

Flexible. — In  Extra  Binding  where  leather  is  attached  di- 
rectly to  the  back  of  the  book. 

Folio. — A  sheet  folded  once,  making  two  leaves. 

Foot,  or  Tail. — The  bottom  of  the  book  as  it  is  held  up- 
right. 

FoREDGE,  OR  Fore-edge. — The  edge  of  the  book  opposite 
the  back. 

Forwarding. — All  the  work  of  binding  a  book  until  it  is 
ready  for  the  finishing.     Page  9. 

French  Joint. — Wide  space  left  between  the  edges  of  the 
boards  and  the  back  of  the  book  in  the  Library  Binding. 

Gold  Tooling. — The  use  of  gold  leaf  to  cover  the  lettering 
or  ornaments. 

Guard. — A  strip  of  paper  used  to  mend  a  torn  folio  or  to 
fasten  in  a  plate.    No.  4,  page  40. 


70  BOOK   BINDING 

ilAi,t"  Leather. — A  book  bound  with  a  strip  of  leather  at 
the  back  and  the  boards  covefed  from  the  leather  to 
foredge  with  paper  or  cloth. 

Head. — The  top  of  the  book  as  it  stands  upright. 
Headband. — A  piece  of  cloth  or  cord  at  head  of  book  to 
strengthen  back.     Fig.  29. 

Head  Kniee,  or  Skiving  Kniee. — A  knife  used  for  par- 
ing the  edges  of  the  leather.     No.  5,  Plate  I. 

Hinge. — The  part  of  the  cover  at  the  joint  where  the  cover 
bends  on  opening.  It  usually  refers  to  a  separate  piece 
of  cloth  or  leather  used  to  strengthen  cover  at  this 
point. 

HoLEOw^  Back. — Where  the  cover  is  not  pasted  directly  to 
the  back  of  the  book.     Fig.  33. 

Joint. — The  narrow  space  between  the  board  and  the  back, 
and  also  the  projection  of  the  back  formed  by  the  pro- 
cess of  backing. 

Joint  Rods. — Small  rods  used  to  press  down  the  leather 

or  cloth  at  the  joint.     No.  10,  Plate  I. 
KetteESTitch, — A  stitch  used  in  all  types  of  sewing  but 

especially  in  sewing  all  along,     b,  Fig.  14. 
Laying-on. — Attachino-  the  casine'  to  the  book. 
Limp  Cover. — Cover  without  boards. 
Library  Binding. — The  type  of  book  which  is  sewed  on 

tapes,  has  a  French  Joint  and  double  boards.     Page  22. 
Overcasting. — Method  of  sewins:  books  which  are  badlv 

torn  and  cannot  be  dealt  with  in  sections. 
Peate. — Picture  or  other  special  matter  on  a  separate  leaf 

which  is  fastened  into  the  book. 


SUGGESTIVE  COURSE  ^1 

Plow  and  Press. — The  plow  is  for  cutting  the  edges  of 
books.  The  press  holds  the  book  while  the  cutting  is 
in  progress.    Plate  II,  P.  28. 

Pressing  Tins  and  Boards. — Small  pieces  of  tin  and  board 
to  protect  the  book  while  in  press.  Xos.  11  and  12, 
Plate  I. 

Punctures. — Holes  sawed  or  punched  in  the  book  for  sew- 
ing or  tying. 

Rounding. — Process  of  making  the  back  of  a  book  curved. 

Section. — Part  of  book  made  from  one  folded  sheet  of 
paper. 

Sewing  Auu  Along. — ^Method  of  sewing  a  book  with  ket- 
tlestitches  and  without  tapes  or  cords.     Fig.  14. 

Sewing  Frame. — Frame  on  which  the  books  are  sewed. 
Xo.  6,  Plate  I. 

Signature. — Small  figure  or  letter  at  the  bottom  of  the 
first  page  of  a  section  to  indicate  the  order  of  the  sec- 
tions. 

Slips. — The  tapes,  super,  and  endpaper  pasted  together  to 
insert  in  the  double  boards  of  a  Library  Binding,  a, 
Fig.  23. 

Spacer. — A  device  for  detennining  the  position  of  boards 
in   casebinding,   instead  of  measuring.     This   is  used 
only  where  a  number  of  the  same  kind  of  books  a 
being  bound  uniformly. 

Split  Boards. — In  the  Library  Binding,  Split  Boards  are 
sometimes  used  instead  of  double  boards.  These  are 
simply  single  boards  split  at  one  edge  for  the  insertion 
of  the  slips. 

Squares. — The  distance  the  boards  project  beyond  the  edge 
of  the  book. 


72  BOOK   BINDING 

Stab  Sewing. — Where  books  are  sewed  from  side  to  side 
through  holes  punched  with  an  awh     Fig.  40. 

Sunken  Cords. — Where  book  is  sewed  on  cords  sunken 
into  large  depressions  sawed  across  the  back.     Fig.  32. 

Super. — Thin  cloth  put  on  back  of  book  to  strengthen  the 
attachment  to  the  cover. 

Taii,. — Same  as  foot.    Part  of  Book  at  bottom  of  page. 

Tapes. — Pieces  of  tape  to  which  book  is  sewed  in  Library 
Binding.     Fig.  21. 

Three-quarters  Leather. — Cover  with  leather  on  back 
and  corners. 

Tip. — To  attach  a  sheet  of  paper  by  a  narrow  strip  of  paste. 

Turn-in. — The  34"  parts  of  leather,  cloth  and  paper  turned 
over  board,  etc. 

Weaver's  Knot. — A  knot  used  to  attach  a  new  thread  to 
an  old  one.  It  is  made  as  follows :  Hold  old  thread 
between  thumb  and  finger,  place  the  end  of  the  new 
thread  under  the  end  of  the  old  thread.  Then  loop  the 
new  thread  around  its  own  end.  Draw  the  end  of  the 
old  thread  down  over  the  new^  thread  into  the  loop. 
This   forms   the  knot ;   now   draw  the   threads   tight. 

F'ig-  15- 
Zigzag. — A  kind  of  fold  made  in  the  end  folios  of  Library 
and  Extra  Bindings.     Fig.  20,  page  23. 


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